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                                  GONE BABY GONE



                                    Written by

                           Ben Affleck & Aaron Stockard



          Morning.

          Clouds moving through the sky.

          We see various shots of the city, exterior storefronts,
          people going about their lives and some wider shots of the
          city.

          As they continue, the hour gets progressively later in the
          day until the final sequence which takes place at night.
          Over this we hear our guy, PATRICK (30).

                               PATRICK (V. 0 . )
                     To people who grow up here, this city is
                     like family. The thing about family,
                     about the city, about the church, about
                     the people you grow up with-- is that no
                     matter how much they hurt you, no matter
                     what the cost is, you still love them.

                     And despite all our flaws-- what we do to
                     each other-- what is done to us-- I've
                     always felt proprietary about it all.

                     Like the old commercial for dog food:
                     'doesn't your dog deserve to be treated
                     like a member of the family?' I've always
                     believed it depended on the dog. Beyond
                     that, the most I thought about anything
                     was what I wanted to do. Who I wanted to
                     be. To rise where my father said I
                     couldn't go, to succeed. To be a man.

          EXT. MCCREADY THREE DECKER       NIGHT


                                                      -

                         
          A playground at night, completely empty. One of the swings
          drifts back and forth . . .
          The back door to a home is open. A piece of light cuts across
          the porch from inside . . .

                         
          Up the back stairwell another door is open, leading into an
          apartment . . .
          Down the hall, a third door opens to reveal a small, sparse
          bedroom. A small mattress on the floor holds a dirty-faced
          little girl asleep under her blanket . . .
          Footsteps heard, quietly moving through the house . . .
          A three foot gate hangs open. A car starts and pulls away.
           We begin to hear the voice of Jack Doyle.

                                             DOYLE
                    Amanda McCready was taken from her home
                    sometime between eight and eight thirty.

                                                                                 CUT TO:

                         

          INT. PATRICK AND ANGIE' S CAR - DAY


                         
          JACK DOYLE (60s) speaks at a press conference on a small,
          PORTABLE TELEVISION with a 3x4 inch screen resting on the
          dashboard of a car and plugged into the lighter outlet.

                                                 DOYLE
                    She is four years old, has blond hair and
                    green eyes, 35 pounds and about 3 and a
                    half feet tall. Amanda's mother says she
                    put her to bed in her B e a u t y and t h e
                    B e a s t nightgown . . .

                         
          Patrick Kenzie and Angela Gennaro sit in the car watching
          idly.
          TV: A clip from an interview with Amanda's mother, HELENE
          MCCREADY (29-39). She looks haggard and in desperate need of
          sleep, if not a stint in detox. Standing beside her is her
          brother LIONEL and sister-in-law BEATRICE, both of whom we
          will come to know later.

                               HELENE (ON TV)
                    The thing is she just always had a smile
                    on her face, you know? That was her. She
                    was always smilin'.

                                        (TEARS WELLING)
                    I mean, who would take my little girl?
                    What did she ever do to anyone?

                                             PATRICK
                    Did you know her?

                         

                                              ANGIE
                    Vaguely.

                                        (RE: TV)
                    This is horrible.

                                              PATRICK
                    Not if you're channel nine.

                                             ANGIE
                    That's Timmy Reilly. Is he a cop now?
           A press conference with JACK DOYLE (68) comes on. Beneath his
          image is written "JACK DOYLE, CRIMES AGAINST CHILDREN."

                              DOYLE (ON TV)
                    I know the pain of losing a daughter --We
                    will pursue every avenue--

                         

                                              PATRICK
                    They can't be taking that many avenues.
                    The whole force is outside the house.

                         
          They are parked on a street in Dorchester lined with
          residential apartments and storefronts.

                         
          A KNOCK on the windowsill startles them both. It's A

          NEIGHBORHOOD GUY, BOBBY.

                                              BOBBY
                         (winks, being funny )
                    Hey. How are you?

                                             PATRICK
                    Good, Bobby. Nice to see you.

                         
          Bobby moves on down the street. She looks at Patrick.

                                             ANGIE
                    This is why it's embarrassing to do
                    surveillance three blocks from where we
                    live.

                         
          Over Patrick and through the windshield we see A MAN AND A
          WOMAN emerge from a MINT GREEN 3-DECKER.

                                             PATRICK
                    There they go.

                         
          They kiss before parting ways. The MAN hops into a GREEN
          LINCOLN while the WOMAN heads down the block, on foot.

                               PATRICK (CONT' D)
                    They' re splitting up.

                                             ANGIE
                    Go with him. I'll follow the mother.

                         
          Angie jumps out and starts following the woman. Patrick pulls
          slowly from the curb and trails the Lincoln.

                              ANGIE'S CAR, DRIVING - DAY (MOVING)

          INT. PATRICK   &


                         
          Patrick turns a corner on a residential street. Then another
          one, keeping about a block between himself and the Lincoln.

          EXT. DORCHESTER ST.         CONTINUOUS


                                                 -

                         
          Suddenly, A TEN YEAR OLD KID darts in front of Patrick atop a
          BMX bicycle. Patrick has to stop.

                                             PATRICK
                    Get out of the way.

                                             KID
                    Fuck your mother.

                                             PATRICK
                    Move the Huffy before I slap your face.

                         
          Patrick waits for the kid to move. As he drives by he reaches
          out to CUFF the kid, who eludes him.

                                             KID
                    Missed me, faggot.

                         

          EXT. DORCHESTER AVENUE - MOMENTS LATER

          Patrick pulls out onto Dot Ave. He looks around, doesn't see
          the Lincoln. He goes left.

          EXT. DOT AVE. - CONTINUOUS

          Patrick drives a few cars behind the Lincoln. He can't cathc

                         UP -

          EXT. DORCHESTER AVENUE - MOMENTS LATER


                         
          A car STOPS in front of Patrick. He tries to go around,
          traffic is oncoming.

                                             PATRICK
                    Fuck. Fuck.
          The car moves. The Lincoln is long gone.
          He pulls the car over.
          He sees an ITALIAN MAN IN HIS SIXTIES looking at him from the
          sidewalk (GERRY SPECA). The man sits in front of a VFW. They
          trade looks.

                                PATRICK (CONT' D)
                    Fuck it.
          Patrick dials his phone and puts it to his ear.

                              OPERATOR (OVER PHONE)
                    Nine one one, what's your emergency?

                                             PATRICK
                    I want to report a drunk driver. I saw
                    him consuming alcohol in his front seat,
                    and he almost swiped an old lady.

                              OPERATOR (OVER PHONE)
                    What's the description?

                                              PATRICK
                         (looking at paper)
                    1989 Green Lincoln Mercury LS.
                    Massachusetts Patriots bonus edition
                    license plate 357 bravo. 929.

                         

                              OPERATOR (OVER PHONE)
                    Thank you sir.

                                             PATRICK
                    Thank you. God bless.
          Patrick reaches into the glove compartment and produces a
          small device. He turns it on and sets it on the dash. By the
          SCRATCHY VOICES and STACCATO CODE we realize it's a POLICE

          SCANNER.
          He waits. Cars roll by. Wipe. Shot outside car.

                         

                         

                         OMIT

                         OMIT

                                                                               CUT TO:

                         

          EXT. DORCHESTER AVE. - MINUTES LATER

          Patrick is in the car. Listening.
          His phone rings. He answers it.

                              ANGIE (ON PHONE)
                    Where are you?

                                                    PATRICK
                          Dot Ave, where a r e you?

                         

                                                     ANGIE
                          Nguyen' s n a i l s a l o n .

                         

                                                        PATRICK
                          T h a t ' s where s h e went?

                         

                                                      ANGIE
                          Yup. I ' m g e t t i n g my n a i l s d o n e . You s t i l l
                          with t h e father?

                         

                                                       PATRICK
                          I l o s t him.

                         

                                                          ANGIE
                          You d i d ?

                         

                                                         SCANNER
                          L i n c o l n Mercury Cougar, n i n e t y e i g h t .
                          Broadway and L S t . F i e l d S o b r i e t y . . .

                         

                                                     PATRICK
                          Whoops, t h e r e h e i s .

                         
          And h e p u l l s o u t .

                         

                                  SOUTH BOSTON - M M N S LATER

          EXT. BROADWAY,                          O ET


                         
          On t h e s i d e o f t h e r o a d , s e v e r a l OFFICERS a d m i n i s t e r a FIELD
          SOBRIETY TEST t o t h e MAN.

                         
          The Man i s u p s e t . He g e s t u r e s a t t h e P o l i c e .

                         
          P a t r i c k p u l l s up a c r o s s t h e s t r e e t , watching.

                         
          They l e t t h e man g o .

                         
          P a t r i c k e a s e s o u t a f t e r him. He W V S t o t h e c o p s , who s t a r e

                                                                          AE
          b a c k , n o t knowing him o r why h e i s waving.

                         

          EXT. OLD COLONY HOUSING DEVELOPMENT - DAY


                         
          From P a t r i c k ' s c a r , we s e e t h e F a t h e r g e t o u t o f h i s c a r and
          head i n t h e door, h o l d i n g h i s b a d .

                         
          P a t r i c k w a t c h e s from a c r o s s t h e s t r e e t , i n h i s c a r .
           He sees all the sweet-faced little kids, all dressed up in
          the best clothes their parents could afford, running and
          shrieking and playing kick-ball in a tiny play lot inside a
          giant, ramshackle housing project.
          The father emerges, BAGLESS.

                         

          EXT. OLD COLONY, PERKINS ELEMENTARY SCHOOL - MOMENTS LATER

          As Patrick walks past we dolly low alongside him and onto the
          playground. He approaches the door the father came out of and

                         ENTERS

          INT. BUILDING B. OLD COLONY - CONTINUOUS

          Patrick comes in. There are a bunch of the ubiquitous MISSING
          CHILDREN FLIERS on the ground. A door to a unit is ajar.

                         

          EXT. MAUREEN QUINN'S APARTMENT - CONTINUOUS

          Patrick eases the door open a bit. Patrick goes to his
          haunches so as to stay out of sight at the opening. Through
          the crack we see a man and a woman arguing.
          A woman MAUREEN, Irish (34) is making breakfast. She calls
          out to the next room.

                                              MAUREEN

                                        (CALLING OUT)
                    You want them eggs runnin' ?

                         
          TOMMY MEADE rolls into frame, bitching about his condition.

                                              TOMMY
                    Yah. Where'd my father leave the bag?

                         
          She indicates.

                                             MAUREEN
                    By the chair.

                                             TOMMY
                    You know Cheryl Martin said Donna hired
                    missing persons investigators to find me?

                                              MAUREEN

                                        (FEEBLY)

                                         ...
                    You're not missin'

                                               TOMMY
                     Fuckin' bullshit. I can't go back to my
                     own home to get my own clothes for fear
                     of gettin' my wages garnished to support
                     Mike Cuddehy' s fuckin' kids?

                         
          Patrick looks at the floor, the BAG the Father was carrying
          has CLOTHES in it.
          The KID comes to the opening in the door. He looks at
          Patrick. Patrick holds a finger to his lips: shhh.

                         

          EXT TAFT ST. - DAY
          Patrick parks and walks by various families.

                         

                 PATRICK AND ANGIE'S APARTMENT, LIVING ROOM - DAY

          INT.

          Patrick looks at a paper. It's their ad.

                                               PATRICK
                     "Dorchester' s best missing persons?"
                     That's terrible.

                                              ANGIE
                     What's wrong with it?

                                              PATRICK
                     It's like having world's tallest midget
                     as your slogan.

                                              ANGIE
                     It's better than the old one.

                                              PATRICK
                     You're just saying that cause the new one
                     has your name on it.
          Patrick takes his gun out, wallet, puts them on the table.

                                               ANGIE
                     At a certain point the person who books
                     half the business is entitled to her name
                     on the door.

                                         (BEAT)
                     Speaking of which, how'd you get Tommy?

                                               PATRICK
                     These people need to learn how to hide
                     better. Staying at your girlfriend's in
                     OC projects ain't slick.

                                         (BEAT)

                                                ( MORE )

                                              PATRICK (CONT'D)
                    And the reason you book half the business
                    is cause no one's trying to get in my
                    trousers.

                                             ANGIE
                    Keep telling yourself that.

          INT. PATRICK AND ANGIE'S BEDROOM       NIGHT


                                                            -

                         
          Long, intimate improvised scene in their bedroom.

          INT. PATRICK AND ANGIE'S APARTMENT, LIVING ROOM - MORNING


                         
          Patrick walks down the hallway toward the kitchen.

                                             PATRICK
                    Yo, you want some cereal?

                         

                              ANGIE (O.S.)
                    I'm in the bathroom.

          INT. KITCHEN - CONTINUOUS


                         
          Makes cereal.   Walks out.

          INT. HALLWAY - CONTINUOUS

          Patrick walks by the door. He pushes on it. She BUMPS it
          shut. He stands there for a minute, thinks of an
          explanation.

                                             PATRICK
                    I just wanted to see if you wanted some
                    food .

          INT. LIVING ROOM - CONTINUOUS

          Patrick comes into the living room, the television is on.   He
          puts the cereal down and starts eating.

                         
          JACK DOYLE (60s) speaks at a press conference.

                                                 DOYLE
                    She is four years old, has blond hair and
                    green eyes, 35 pounds and about 3 and a
                    half feet tall. Amanda's mother says she
                    put her to bed in her B e a u t y a n d t h e
                    B e a s t nightgown . . .
          Patrick watches.
          TV: A clip from an interview with Amanda's mother, HELENE

          MCCREADY (29-39).

                               HELENE (ON TV)
                    The thing is she just always had a smile
                    on her face, you know? That was her.
                    She was always smilin'.
          Angle enters.

                         

                         

                               HELENE (ON TV) (CONT7D)

                                        (TEARS WELLING)
                    I mean, who would take my little girl?
                    What did she ever do to anyone?

                                             ANGIE
                    Did you know her?

                                              PATRICK
                    Vaguely.

                                             ANGIE
                    This is horrible.

                                              PATRICK
                    Not if you're Channel Nine.

                         
          She sits down to watch.
          A press conference with JACK DOYLE (68) comes on. Beneath
          his image is written "JACK DOYLE, CRIMES AGAINST CHILDREN."

                                             DOYLE
                    We will pursue every avenue.

                                              PATRICK
                    They can't be taking that many avenues.
                    The whole force is outside the house.
          TV: A STILL PHOTO OF AMANDA MCCREADY (4) occupies a corner of
          the frame. She has dirty blonde hair and a shy smile.

                                             NEWSCASTER
                    Her mother says Amanda may be carrying
                    Mirabelle, her favorite doll . . .
          On TV the camera goes to BEA and LIONEL.   Bea Speaks

                              BEA (ON TV)
                    Whoever you are, if you have her, just
                    give her back. We won't charge you. If
                    you're out there, just let her go!

                                              ANGIE
                    Poor woman.

                                             PATRICK
                    Look at these guys. Standing around
                    posing for the camera like they have a
                    purpose. That's why cops hate us. (MORE)

                         

                                             PATRICK (CONT'D)
                    Cause they know we do the same thing as
                    them without five years of jungle gym
                    Police academy.

                         
          Bell rings.

                                             PATRICK (CONT'D)
                    Who's this?

                                                                               CUT TO:

                         

          BEA MCCREADY' S FACE

                             ANGIE'S APT - MORNING

          INT. PATRICK   &


                         
          Patrick is standing in the doorway, looking at Beatrice and
          Lionel McCready, not entirely sure what to say.

                                             BEATRICE
                    My niece is missing.

          INT. PATRICK AND ANGIE'S OFFICE         DAY


                                                             -

                         
          Close on a hand picking clothes up off the couch in their
          'officer-- which is basically their living room.
          Now we get a good look at their guests, who are standing
          politely.
          BEA MCCREADY (mid 50s, matronly) we recognize from the TV
          clip. She has a kind patience that has been tried by her
          ordeal.
          Her husband, LIONEL (mid 40s)' we remember as well. Lionel
          is the kind of man who was once a hard drinker, a fighter and
          a troublemaker. Now 'recovered,' he has been a husband,
          provider and peacemaker for almost twenty years.
          Angie is also trying to tidy the detritus of their morning
          which lie strewn around their office, including a bra which
          is behind the couch.

                                              PATRICK
                    I heard about that on the news . . .Excuse
                    the mess. We just finished another
                    case. . .

                         

                                             ANGIE
                    I am so sorry, Mrs. McCready. I can't
                    imagine what this time must be like for
                    your family.

                                             PATRICK
                    This is my associate, Angela Gennaro.

                         
          They all four stand there, not sure what comes next.

                                             BEATRICE
                    We want to hire you to augment the police
                    with the investigation.

                         
          No one says anything.

                                             LIONEL
                    Like Jean Benet Ramsey. The family hired
                    investigators.

                                             PATRICK
                    Right. I remember that.

                                             BEATRICE
                    The Police are nowhere, they're slow,
                    they keep us in the dark. We want our own
                    investigators.

                                             ANGIE
                    I'm not sure we're who you're looking
                    for.

                         

                                             BEATRICE
                    Isn't that what you do? The ad in the
                    paper said 'missing persons.'
          Tiniest of looks from Patrick to Angie.

                                             PATRICK
                    What Angie is trying to say is: we
                    usually get hired to find people who
                    like, take off to New Hampshire without
                    payin' for their jet ski--
          Bea looks up at Patrick, confused.

                                              ANGIE
                    Every Police officer in Boston is looking
                    for your niece. This is something they're
                    qualified for.

                         

                                             BEA
                    What are you saying?

                                             ANGIE
                    I'm not sure how much help we can be.

                                             PATRICK
                    Hear her out, Ange.

                                               BEA
                    You're not gonna do any harm, are you?
                         ( shaking her head)
                    Why is this so hard? The cops sent one
                    man until I called the Herald and raised
                    Cain. The cops don't want me hirin' you.
                    Now you don't want the job?

                                             PATRICK
                    It's not that we don't want the job.

                                             BEA
                    Don't you know people in the
                    neighborhood? People who don't want to
                    talk to Police?

                                             PATRICK
                    Yes. We do. Have the Police told you
                    anything so far?

                                             BEA
                    If I hear they have "no leads" one more
                    time I'm gonna lose my marbles. I mean,
                    Helene was watching TV next door and
                    wasn't gone for more than a half hour.

                                              LIONEL
                    She was watching "Wife Swap" downstairs.

                                        (BEAT)
                    It's her favorite show.

                                             PATRICK
                    Where's the father?
          Beatrice snorts. Lionel shoots her a look.

                                              LIONEL
                    Germany. Army base. He doesn't want
                    nothin' to do with Helene.

                                             BEA
                    Or Amanda. He doesn't think she's his.

                         

                                             PATRICK
                    Is there anyone you know? An acquaintance
                    who could have taken her . . . a neighbor?

                                             LIONEL
                    I don't know. You think she was
                    definitely taken though?

                                             PATRICK
                    If she were lost I think they . . .

                         
          Bea may be coming unglued.

                                             BEA
                    Couldn't she have fallen down a well or
                    something? Like in Texas?

                                             PATRICK
                    That's not what we hope for.. .

                         
          Awkward moment.

                                             ANGIE
                    How is Helene holding up?

                                             LIONEL
                    She's trying.

                                             BEA
                    Please, Lionel.

                                             LIONEL
                    Look, it. I had my problems, hard bust at
                    22. Bea straightened me out. Helene
                    hasn't had that.

                                              BEA
                    No, she has you. You find her work-- she
                    was our housekeeper for a year and a half-

                                        (BEAT)
                    Look, come talk to Helene yourself. I
                    don't care if you think you can help.
                    Try. There must be something you can do.

                         
          She looks at them expectantly.

                                              PATRICK
                    We'll meet you over there.
          He throws Angie another small look.

                                              BEA
                    We don't have a lot of money, but I saved
                    over the years. Don't think we can't
                    afford it.
          Angie gives her a smile.

                         

                             ANGIE'S CAR - LATER

          INT. PATRICK   &


                         
          Patrick and Angie are in their car. They pull to a stop,
          looking at something off-camera right.

                                              ANGIE
                    If a missing child isn't found in seventy
                    two hours they are almost never
                    recovered.

                                             PATRICK
                    Pretty quick with the facts for someone
                    who's so unqualified.

                                             ANGIE
                    I read that on the computer in two
                    minutes while you were getting dressed.

                                             PATRICK
                    See that, you're already on the case.

                         

                                             ANGIE
                    We aren't needed, we canrt make a
                    difference and we can't take their money.

                                             PATRICK
                    I don't want to take their money.

                                             ANGIE
                    I don't want to find a child in a
                    dumpster.

                                             PATRICK
                    Neither do I. I want to find one alive
                    who we can bring home.

                                             ANGIE
                    We have a good life, Patrick.

                                               PATRICK
                    This won't change that.

                                             ANGIE
                    You go out in the rain, you get wet.

                                              PATRICK
                    If it's a four year-old girl out there,
                    you go out and bring her back. We'll be
                    okay.

                                        (SMILES)
                    It's just rain.

                         

                         

                                                 DAY

          EXT HELENE'S APT.   -

                         
          We might recognize it from the nighttime abduction sequence
          except that now it's swarming with:
          CAMERA TRUCKS, MEDIA TYPES and LOOKEY-LOOS.

                         
          This is a big shot full of REPORTERS, LOCALS, KIDS, A GUY

          WITH A GRILL, AN ICE-CREAM TRUCK.
          People mill around and converse. KIDS wave behind REPORTERS
          heads, trying to get on camera.
          We carry Patrick and Angie through with a Steadi-Cam as they
          react to the circus.

                         
          A FIELD REPORTER does a stand-up, dressed formally to the
          waist in a sports coat and tie but wears shorts below. He has
          heavy pancake make-up on.

                                             PATRICK
                    Block party.

                         

          EXT. HELENE'S APT - DAY

          They reach the front porch.
          One, OFFICER REILLY (from TV) stops Patrick as he comes in.

                                             OFFICER REILLY
                    Friends of the family?

                         
          Patrick rolls his eyes.

                                               PATRICK
                    Timrny. It's me.

                         
          Lionel is out on the porch.

                                              LIONEL
                    It's okay. Come on in.
          Patrick heads down the hall toward the kitchen but turns back
          when he sees Angie going into the living room.

                         

          INT. HELENE'S APARTMENT, LIVING ROOM         CONTINUOUS


                                                                  -

                         
          Patrick and Angie enter the small two bedroom apartment. It
          is crowded and crawling with police.

                         
          HELENE MCCREADY (in rough shape) sits wearing a "born to
          shop" T-shirt. Her best friend DOTTIE sits next to her. They
          are engrossed in a DAY-TIME TALK SHOW. Dottie wears a "Dot
          Rat" T-shirt.

                                             LIONEL
                    Helene, this is Patrick Kenzie and
                    Angela Gennaro.
          The two women on the couch look over.

                                             DOTTIE
                    I remember you.

                         
          Angie looks blank.

                                DOTTIE (CONT' D)
                    MRM high.

                         
          Angie offers a fake smile, half-recognition, polite.

                               DOTTIE (CONT' D)
                    I see you're still conceited.

                                             LIONEL
                    Could you excuse us, Dottie?

                                             HELENE
                    Dottie's my best friend, Lionel. She can
                    be in my house if she wants.

                                             PATRICK
                    We just want to ask a few questions.

                                             HELENE
                    She can be here for that.

                                              PATRICK

                                        (TO LIONEL)
                    It's fine.

                                               DOTTIE

                                        (TO HELENE)
                    Now everyone wants to be part of it.

                         

                                              HELENE
                    I know.

                                        (TO ANGIE)
                    I already talked to the cops forty times.

                         

                                             ANGIE
                    We're sorry to take up your time.

                                             PATRICK
                    Beatrice asked us to come here.

                         

                                                HELENE
                    - W h y don't Bea mind her business. It's

                                   MY KID--

                         

                                             DOTTIE
                    'Cause everyone's tryin' to get their
                    moment now.

                                             LIONEL
                    Bea hired these people to help find
                    Amanda with her own money. You better
                    show them the God damn courtesy they
                    deserve !

                                             DOTTIE
                    She's in grief, prick.

                         

                                             LIONEL
                    She can grieve how she wants, Dottie. You
                    don't live here.

                                             HELENE
                    Don't yell at her. You ain't her father!

                         

                                             DOTTIE
                    Fuck you, Lionel.
          Lionel marches over toward Dottie. She scoots in a hurry.

                         

                                             DOTTIE (CONT'D)
                    Get away from me!
          Dottie storms from the room. Patrick and Angie stand
          uncomfortably in the hall.

                                                LIONEL
                    I'm sorry.

                                              ANGIE
                    Maybe we should go.

                                               LIONEL
                    I'm sorry . . . I understand.

                         

                              BEA (0.3.)
                    Can I speak with you for a minute?

                                             PATRICK
                    Can you excuse us, Helene?

                         
          Helene ignores her.

          INT. HELENE'S APARTMENT, HALLWAY/KITCHEN - CONTINUOUS


                         
          Bea stands at the far end of the hallway, distraught. She
          holds a FRAMED PHOTOGRAPH in her hand.

                                             LIONEL
                    Helene has emotional problems.

                                             BEATRICE
                    It's not that, Lionel.

                                             LIONEL
                    What is it, then?

                         
          What Bea says belies her matronly kindness.

                                             BEATRICE
                    She's a cunt.

                                             LIONEL
                    Beatrice! Don't say that word.

                                             BEATRICE
                    God help me, it's true.

                                             LIONEL
                    For God's sake, the walls are thin.

                                             BEATRICE
                    I don't care anymore, Lionel. Let her
                    hear.
          Bea hands Patrick the photograph of Amanda.

                               BEATRICE (CONT' D)
                    This is a child.
                        (beat, cracking)
                    And I don't know where she is.
           Angie looks to Patrick.

                         

                                                  ANGIE

                                            (COMFORTING SMILE)
                        Well. We can't do any harm, right?

                         

          SAME       LATER (KITCHEN)

                                -

                         
          The sink is FULL OF SHIT. Lionel tries getting out a cup for
          coffee.

                         
          Patrick, Lionel, and Bea sit around the kitchen.
          Angie makes her way around the kitchen, looking over the
          environment. Shots of the mess that is Helene's apartment
          (and a nod to our extraordinary set decorator.)

                                                 PATRICK
                        What about who she hangs out with? What
                        kind of people are around?

                         
          Bea looks to Lionel to answer this sort of thing.

                                                 LIONEL
                        I don't know. She's at the Fillmore all
                        the time.

                                                 PATRICK
                            (knows its reputation)
                        The Fillmore Lounge?

                         

                                                 LIONEL
                        She drinks every day, she's got the gene.
                        The disease. Our parents had it, too.

                                                 PATRICK
                        She use drugs?

                         

                                                 LIONEL
                        I think she does a little coke.

                         

                                                 PATRICK
                        How much is a little?

                                                 LIONEL
                        I don't know . . . few times a week, maybe.
                        How much is a lot?

                                                 PATRICK
                        Few times a week is a lot.

                                               LIONEL
                    Then she does a lot. I don't know
                    anything about that.

                                        (TO PATRICK)
                    I put the plug in the jug, myself. I got
                    twenty three years sobriety.
          There is a short beat before:

                         

                                              PATRICK
                        f o r lack of anything else)
                    Good for you.

                         

                                             ANGIE
                    What's Amanda like?

                         

                                             BEATRICE
                    She's quiet. Has her manners, please and
                    thank yous. She tries her hardest to be
                    good.

                                             ANGIE
                    You mind if we look in her room?

          INT AMANDA'S BEDROOM - DAY
          Patrick and Angie stand just inside the door to Amanda's drab
          little bedroom. The only furniture a TWIN-SIZED MATTRESS and
          a CHEST OF DRAWERS. It's all third hand.

                                             PATRICK
                    We get a bonus for finding the furniture?

                         
          Patrick looks over the dirtied walls, faded glowing stars,
          stickers, a sad sight.

                         

                                             ANGIE
                    Maybe she ran away.

                         

                              DOYLE (0.C.)
                    Solved it yet?
          Patrick and Angie turn to the voice. Standing in the doorway
          is JACK DOYLE, the police officer from the TV report.

                                                PATRICK
                    Almost .
          He extends his hand.

                                             DOYLE
                    Jack Doyle.

                                              PATRICK

                                       (REACHING OUT)
                    Patrick Kenzie. Angela Gennaro.

                                             DOYLE
                    Nice to meet you.

                                             ANGIE
                    Good to meet you, Captain

                                             DOYLE
                    I take it Bea hired you?

                                             PATRICK
                    She wants to cover as much ground as she
                    can.
          He looks them over.

                         

                                             ANGIE
                    I take it you didn't want us hired.

                                             DOYLE
                    These people aren' t rich.

                                             PATRICK
                    We understand that. This is about helping
                    in whatever way we can. Not about making
                    money.

                                              DOYLE
                    Good. I don't care who finds her. I just
                    want it done.

                                             ANGIE
                    We want that too, sir.

                         

                                             DOYLE
                    Fine. Keep us apprised.

                         

                                              PATRICK
                    Of course... is there any way we can see
                    what you're looking at so far?

                                              DOYLE

                                        (SMILES)
                    I'll put my two best men on it. Where can
                    they find you?

           EXT FILLMORE LOUNGE       DAY

                                               -

                         
          The Fillmore Lounge is a dreary looking bar up an alley off
          Dorchester Avenue.

                         
          Degenerate drinkers are now forced to go outside and smoke
          under the noon day sun and the place's faux, stacked stone
          facade .

          INT FILLMORE LOUNGE - CONTINUOUS
          And it's no more welcoming inside. Men come here to nurse
          their drug habits, their alcoholism and their hate.

                         
          While you wouldn't think there were many clamoring to get
          into their club, they don't look kindly on potential
          applicants.
          At one end of the bar, LENNY (mid 40' s) sips a whiskey and
          studies the Keno results. In the rear, 4 ALCOHOLICS sit
          around muttering to one another. And at one of the tables a
          CAULIFLOWER FACED MAN drinks alone.
          In addition there is a SMATTERING OF ROUGH LOOKING FACES.
          The bartender BIG DAVE (hence the name) has a newspaper
          spread out before him on the bar.

                                               PATRICK
                    I'm not asking for the combination to the
                    safe here . . .

                                              BIG DAVE
                    I got nothin' to say. I already talked to
                    the cops.

                                             PATRICK
                    Look, Dave, right?

                                               BIG DAVE
                    Big Dave.

                                             PATRICK
                    Okay, "Big Dave." "Medium Patrick." Nice
                    to meet you.

                                             BIG DAVE
                    You're a little light in the ass to be
                    talkin' shit .

                         
          Patrick puts his hands up.

                                              PATRICK
                    I apologize.

                                             BIG DAVE
                    Buy a drink or screw.

                                             ANGIE
                    We'll have a couple of tonics.

                         
          Dave regards them for a beat, then moves off.

                              MALE VOICE (0. )

                                            C.
                    Spuds McKenzie.

                         
          Patrick turns to find STEVE TSAFONIAS (30s), staring back at
          him - - a dim, goofy smile across his face.

                                                STEVE
                    Steve . . . Tsafonias.

                                        (BEAT)
                    'Gyro?"
          Patrick subtly looks to Angle.

                                             PATRICK
                    Zeus! How you been?

          INT. FILMORE LOUNGE, BOOTH       LATER


                                                      -

                         
          We come off the face of a interesting man to see:
          Patrick, Angie, and Steve sitting around a table sharing a
          pitcher of beer.

                                             STEVE
                    Oh, it's a real tragedy. She used to come
                    in here, sit up on the bar and shit . . .
                    She was like our mascot.

                         

                                             ANGIE
                    Helene brought Amanda in here?

                                             STEVE
                    No, mostly in the afternoons. It's not
                    the place for a child at night.

                                              ANGIE
                    Really?

                                             STEVE
                        (lowers his voice)
                    Hot tempers. Lotta drugs.

                                              PATRICK
                    How much does Helene come in?

                                              STEVE
                    Like five nights a week.
                         (off their reaction)
                    She's a fuckin' coke head guys. Don't get
                    me wrong, you don't want that for no one.
                    But it's not a real shocker.
                         (pause. His voice almost a
                          whisper now. )
                    I seen her on the news saying how she was
                    at her neighbor's for a half hour?
                    Bullshit. She was in here snappin' lines
                    for two hours.

                                             PATRICK
                    Are you sure it was the same night?

                                             STEVE
                    Yeah, cause she was bumpin' rails in the
                    shitter with Ray. I was knockin' on the
                    door.

                                              ANGIE
                    Ray Li kanski?

                                             STEVE
                    He was duckin' me like a faggot 'cause he
                    owes me a dime. Then he owes everyone
                    money, I found out. Don't lend him no

                                   MONEY--

                              LENNY (0. )

                                       C.
                    Hey! What are you doing?!

                         
          Steve looks up. Lenny (Keno Guy) is out of his stool.

                                                STEVE

                                        (FRIGHTENED)
                    Nothing . . . what Lenny?

                         
          Lenny starts towards their table.

                                             LENNY
                    Don't talk about people you don't know.

                                             STEVE
                    I know them.

                                             PATRICK
                    What's your problem, guy?

                                               LENNY
                    You said you ain't a cop, right? Why
                    don' t you fuck off?

                                             PATRICK
                    Why don't you mind your business.

                         
          Lenny moves to them.

                                              LENNY
                    What are you doing here?
                         thumbs at Big Dave)
                    Dave can't make a martini.

                         

                                             PATRICK
                    We're trying to help Helene find her
                    daughter.

                                             BIG DAVE
                    Kids go missing all the time. They always
                    show back up.

                                             ANGIE
                    Why don't you mind your business?

                         
          Angle's comment stops Lenny.

                                             LENNY
                    Oh, shit, Dave. She told you.

                         

                                             BIG DAVE
                    She wants to come in here and be a smart
                    ass?

                                             PATRICK
                    Take it easy.

                                              BIG DAVE
                    Don' t run your mouth like you're better
                    than me.

                                             PATRICK
                    Just cool it, all right?

                                             LENNY
                    'Cool it" Listen to this douche bag.

                                             BIG DAVE
                    I bet she fucks this asshole in half.
          AN ALCOHOLIC calls out to Lenny.

                                              ALCOHOLIC #1
                    Ask her if she sucks cock.

                                             LENNY
                    Ask her yourself.
          The door outside is ajar. LENNY'S PAL pushes it CLOSED.

                         

                                             PATRICK
                    What the fuck is wrong with you?

                                             LENNY
                    You know, I wouldn't mind seein' some
                    tit. Anyone else like tit?

                                             ALCOHOLIC # 3
                    I like tuna.

                                             ALCOHOLIC # 2
                    Show me your tunaaaa!

                                             ANGIE
                    Shut the fuck up.

                                              ALCOHOLIC #4
                         (mimes throwing his voice)
                    Twat steak!

                                             ANGIE
                    Don't be stupid, Lenny.

                                             ALCOHOLIC # 2
                    He's talking to his friends.

                                             LENNY
                    Must be your good looks, Dave, bringin'
                    in all the new snatch. There's some good
                    lookin' pussy in here tonight.

                         
          The alcoholic men are laughing, egging one another on.

                                             BIG DAVE
                    Lenny, think she wants to see your prick,
                    first.
          Patrick reaches into his waistband and puts his hand on a
          SMALL HOLSTER, revealing a 9mrn Kahr handgun.

                         

                                             PATRICK
                    No, Lenny. No one wants to see your
                    prick.

                                           B I G DAVE
                          I do!

                         
          B i g Dave l a u g h s . A h i n t o f f e a r b e t r a y s Lenny.

                         

                                                         LENNY
                          Dave.

                         

                                                         PATRICK
                          Back u p .

                         

                                                         ALCOHOLIC # 3

                                                (SINGING)
                          ' A l i t t l e b i t o f Monicer i n my l i f e . "

                         

                                                     PATRICK
                         Open t h e d o o r , Rummy.

                         
          Lenny s m i l e s , s a v i n g f a c e w h i l e b a c k i n g down.

                         

                                                     LENNY
                         Open t h e d o o r , Mike.

                         

                                                        PATRICK
                         Quick.

                         
          M i k e s e e s t h e g u n . He SNAPS open t h e d o o r .

                         
          P a t r i c k and Angie have t o make t h e i r way p a s t Lenny t o g e t t o
          the door.

                         

                                                        ANGIE
                         Move.

                         

                                                      LENNY
                         Now I r e a l l y want t o f u c k you.

                         
          P a t r i c k CRACKS Lenny i n t h e f a c e w i t h t h e gun, t a k i n g him o f f
          g u a r d . Lenny f a l l s t o t h e f l o o r awkwardly. B e f o r e t h e r e s t o f
          them make a move t o w a r d him, t h e y s e e h i s gun o u t .

                         

                                                        PATRICK
                         You're t h e one a b o u t t o g e t f u c k e d , J a c k .
                              ( b e a t , gun p o i n t e d a t Lenny)
                         Keep t a l k i n ' . Keep t a l k i n ' s h i t .

                         
          Lenny o p t s n o t t o k e e p t a l k i n g . P a t r i c k p o i n t s t h e gun a t B i g
          Dave.

                                   PATRICK (CONT' D)

                                           (TO DAVE)
                       You got something to say now, too? Fat
                       Dave? Huh?.

                         

                                                BIG DAVE
                       All right. Get out

                                                PATRICK
                       Fuck you, make me a martini.

                         

                                                ANGIE
                       Patrick, letfs go.
          They move to the door.

          EXT DORCHESTER AVE.- CONTINUOUS

                         
          Patrick and Angie emerge. They look to one another. Sounds of
          laughter return inside. The guys appear to have gone right
          back to their day.
          Patrick tucks his gun away and looks to Angie.

                                                  PATRICK
                       You okay?

                         

                                                ANGIE
                       I'm fine. How's your hand.

                                                PATRICK
                       It fuckinf stings.
          He indicates his hand, there is some blood. He smiles. They
          are a little rattled.

                                                ANGIE
                       Thanks for that.
          He smiles.

                                                PATRICK
                       No problem.

                         

                         OMIT

          EXT PATRICK AND ANGIE'S 2ND STORY PORCH - SUNSET
          Patrick and Angie look out over the neighborhood. Kids run
          around. Adults watch them.

                                              ANGIE
                    Helene was in there getting high--while
                    her kid was at home for two hours.
                    What kind of mother does that?

                                              PATRICK
                    One who doesn't know better. A poor one.
                    An abused one. A damaged one.

                                             ANGIE
                    A selfish one.
          They look out over the kids running past.

                                             PATRICK
                    Listen, you don't have to do this. I'm
                    fine. If you want to bow out-

                                             ANGIE
                    Have you ever known me to bow out on
                    anything before?

                                             PATRICK
                    No. But that was a scary thing.

                         
          Without looking at him.

                         

                                             ANGIE
                    Why? Because of those men? You think they
                    were gonna rape me?
          She smiles at him.

                                              PATRICK
                    They weren't gonna do that.

                                        (BEAT)
                    They might ' got shot. But they weren't

                                                A
                    gonna do that. . .
          She looks up

                         

                                              ANGIE
                    They' re not what I'm afraid of, Patrick.

                         

                                                                               CUT TO:

          EXT. DUDLEY SQUARE, ROXBURY - MORNING, ESTABLISHING

          A big bus station. The place bustles with activity. Patrick
          and Anqie walk through.

           EXT. SILVER SLIPPER RESTAURANT - MORNING


                         
          Patrick and Angie walk by a MURAL painted on the side of the
          restaurant, turn the corner and head into the diner.

                         OMIT

          INT. SILVER SLIPPER DINER, ROXBURY - MORNING


                         
          Patrick and Angie enter to see TWO MEN seated in a booth.
          REMY BRESSANT, (55) still very tough and wound very tight.
          NICHOLAS POOLE (58) is chubby and affable -- the 'good cop'
          when they do the routine.
          Patrick and Angie approach them. Poole is finishing a joke.

                         

                                             BRESSANT
                    Can I help you?

                                             PATRICK
                    Detective Bressant?

                                             BRESSANT
                    That's right.

                         
          Slightly confused looks exchanged.

                                             PATRICK
                    Patrick Kenzie. You just called me...

                         
          Bressant smiles, a little embarrassed. They get up and
          introduce themselves.

                                             BRESSANT
                    Oh, sorry. Detective Sgt. Remy Bressant.

                                              POOLE
                    Shit.
                         (beat, rising to shake)
                    Detective Nick Raftopolous. Call me
                    Poole .

                                             PATRICK
                    This is Angie Gennaro.

                         

                                             ANGIE
                    Is something wrong?

                         

                                              POOLE
                         (waves off concern)
                    No. No. I was just--

                                              BRESSANT
                    We were expecting an . . . older couple, I
                    guess.

                                             ANGIE
                    Life's full of surprises.

                         
          Poole stifles a small, good-natured laugh.

                                              POOLE

                                        (INDICATED BOOTH)
                    Have a seat.

          INT. THE SILVER SLIPPER        MOMENTS LATER


                                                    -

                         
          THREE MUG SHOTS slide across the table:
          CORWIN EARLE: 30s; 5'10"       and rail thin. His eyes bulge

                                             POOLE
                    This is the lead we're working: Corwin
                    Earle.

                                             BRESSANT
                    Serial molester, recently work-released.
                    Went AWOL around the time Amanda
                    disappeared.

                                             POOLE
                    Known associates: Leon Trett and his
                    handsome wife Roberta. Apparently, The
                    three of them have some kind of Addams
                    Family thing goin' on.

                         
          LEON TRETT, 50s; mouse-faced and hostile.
          ROBERTA TRETT, 50s; a frightening woman: 6 ' 330. She has the

                                                                   '
          shoulders of a bank vault and a thin goatee.

                                              PATRICK
                    Jesus.

                                               POOLE
                    The Trett's were released six, and eight
                    months ago respectively. They have drug
                    habits. We don't know where they are-but
                    we think Corwin' s with 'em. Jailhouse
                    snitch claims Corwin confided when he got
                    out he was going to move in with his
                    'family . '

                                               BRESSANT
                     He was gonna find him a kid he could keep
                     in the house and have sex with.

                                              PATRICK
                     Sounds promising.

                         

                                              BRESSANT
                     Not for Amanda it doesn't.

                                              PATRICK
                     That's not what I meant

                         

                                              ANGIE
                     Is this who you think has Amanda?

                         

                                               POOLE

                                         (FROWNING)
                     Well, they' re just suspects and there's
                     some holes in the theory. Corwin likes
                     boys. And he likes 'em seven to nine.

                         
          A pause.

                                               PATRICK

                                         (INNOCENTLY)
                     That's what you got? There are no other
                     suspects?

                         

                                               BRESSANT

                                         (OFFENDED)
                     Yeah. That's it. A convicted finger
                     blaster who plans to keep a pre-teen at
                     the foot of his bed and just cut off his

                                    ANKLE BRACELET--

                         

                                              POOLE
                     Take it easy, Remy--

                                              BRESSANT
                     --Who the fuck is this guy? You're here
                     because Jack Doyle had us extend you a
                     courtesy. You got something to
                     contribute, be my guest. Otherwise go
                     back to your Harry Potter book.

                                              PATRICK
                     I think you misunderstood my tone,
                     sergeant detective.
          They gauge one another.

                                              ANGIE
                    Isn't it usually someone who knows the
                    victim?

                         

                                             POOLE
                    I think Helene McCready has plenty of
                    people in her life capable of this.

                         

                                             PATRICK
                    I'm sure you've interviewed Ray Likanski.

                         

                                             POOLE
                    Who?

                         

                                              PATRICK
                    Ray Likanski. Skinny Ray?

                                        (BEAT)
                    No?

                         

                                             BRESSANT
                    Never heard of him.

                         

                                             PATRICK
                    Well, with all due respect, we might be
                    able to contribute on that point--

                         

                                              POOLE
                    How' s that?

                         

                                             PATRICK
                    The night Amanda went missing Ray was
                    doing coke at the Fillmore Lounge for two
                    hours between eight and ten.

                         

                                             BRESSANT
                    Fascinating.

                         

                                             PATRICK
                    With Helene McCready.
          Poole and Bressant are genuinely surprised by this.

                         

                                             POOLE
                    She did bullshit us...

                                              BRESSANT

                                        (TO POOLE)
                    We need to straighten her out.

                                             ANGIE
                    Why would she lie about that?

                                               POOLE
                    'Cause it's fucking embarrassing.
          They go for their coats. Patrick takes the MUG SHOTS.

                         

                                             PATRICK
                    I'll just grab a copy.. .
          As they stand, getting their things, Angie turns to Remy.

                         

                              PATRICK (CONT' D)
                    What kind of name is Bressant?

                         

                                             BRESSANT
                    The kind they give you in Louisiana.

                         

                                             PATRICK
                    I thought you were from here.

                         

                                              BRESSANT
                    Depends on how you look at it. You might
                    think you're more 'from heref than I am,
                    for example-- but then again, I been
                    living here longer than you been alive.

                                        (BEAT)
                    So who's right?
          Patrick shakes his head.

                                             PATRICK
                    I'll have to mull that over.
          He takes the photos.

                              PATRICK ( CONT ' D)
                    We'll meet you over there.

                         

                                                                                 CUT TO:

          TRETT PHOTOS       ROBERTA'S FACE

                                        -

                         

                              BUBBA (O.C.)
                    What the fuck makes you think I know
                    people like this?

          INT. BUBBA'S LOFT - MOMENTS LATER

          Reveal BUBBA ROGOWSKI. He is around 30 and hard. He has a
          calm opacity which belies his strength. His loft is spare and
          industrial.

                                    PATRICK
          I know you don't pay your rent doin'
          peoplers taxes.

                                   BUBBA
          I don't do it sellin' penny rocks to wall-
          eyed child molesters neither.

                                     PATRICK
          Just this one, Corwin Earle, is a
          molester. He might be staying with the
          other two baseheads. Just if you hear
          somethin' .

                                   BUBBA
          What are you two? Crime dogs now?

                                   PATRICK
          We got hired to help find that little
          girl.

                                   BUBBA
          Oh yeah? Good for you. What happened?

                                   ANGIE
          Turns out the mother was down the
          Fillmore all night when her kid was
          taken.

                                   PATRICK
          With Skinny Ray.

                         

                                     BUBBA
          Fuck him.

                                   PATRICK
          I thought you were down with them.

                                   BUBBA
          With Ray? He works for the Haitian.

                                   PATRICK
          Ray works for Cheese?

                                    BUBBA
               (with a lack of regard)
          Ray, Chris, Cheese, the whole trash
          picker crew.. .

                                   ANGIE
          You ever sell to Helene?

                                               BUBBA
                    There's reasons why there aren't three
                    inches of plexiglass between us right now-
                    -two of them being I don't deal with
                    coconuts like Cheese and skeezers like
                    Helene.
                         (beat, ruefully)
                    Because I'm the one-eyed man in the
                    kingdom of the fucking blind.
          Bubba SLAPS his hand over one eye. Angie smiles.   Patrick is
          on his way out.

                         

          EXT. BUBBA'S LOFT - DAY


                         
          Patrick comes down the stairs with Angie behind. He is on the
          cell phone, walking past the auto body shop.

                                              PATRICK

                                        (ON PHONE)
                    Detective, how well do you know Cheese
                    Jean Baptiste?

          INT. HELENE'S APARTMENT - LATER


                                                HELENE
                    Who?

                         
          Bressant and Poole question Helene who sits at the kitchen
          table. Patrick, Angie, Bea and Lionel stand by.

                                             POOLE
                    "Cheese" Jean Baptiste.

                                             HELENE
                    It sounds familiar . . .

                         

                                              BRESSANT
                    It don't "sound familiar," Helene. He's
                    a violent, sociopathic, Haitian criminal
                    named "Cheese." Either you know him or
                    you don't.

                         

                                                LIONEL
                    Who is he?

                                             BEATRICE
                    He's a drug lord or something, isn't he?

                                                LIONEL
                    Who is he?

                                              HELENE
                    He's just a guy, Lionel.. .

                         

                                             BRESSANT
                    Ask his homey here.

                         

                                              PATRICK
                         (taken off guard, what?)
                    He ain't my homey.

                                             BRESSANT
                    Hard to keep track with you people.
          Bea looks to Patrick, who shakes his head at Bressant.

                         

                                             POOLE
                    He is, among other things, a drug dealer,
                    Mrs. McCready.

                         

                                             LIONEL
                    What other things?

                         

                                              HELENE
                    I don' t know. . .

                         

                                             BEATRICE
                    Why don't you answer your brother's
                    questions, Helene?

                         

                                             HELENE
                    Why don't you go suck a nigger's dick,
                    Bea?
          Lionel's FIST hits the table.

                         

                                             LIONEL
                    You listen to me. You don't insult my
                    wife! And you don't make racial remarks
                    in my kitchen. Who is this man?

                         

                                             POOLE
                    He's a drug dealer, a pimp, a

                                   PORNOGRAPHER--

                         

                                             LIONEL
                    You associate with a pimp?

                         

                                             BEATRICE
                    A pornographer, Helene . . .

                                                  POOLE
                       And we think he rolled Pokey Jackson up
                       in a carpet and shot him in the head on
                       Castlegate.

                                           (BEAT)
                       So there's that, too.
          Bea canft fathom what shefs hearing.

                         

                                                BRESSANT
                       What do you do for him?

                         
          She sighs.

                         

                                                 HELENE
                       I just mule.
                            (impresses upon them)
                       Occasionally, and not making a habit out
                       of it.

                         

                                                BEATRICE
                       Jesus, Mary & Joseph. What is that,
                       Lionel?

                         

                                                 LIONEL
                       It means she's a drug runner. She carries
                       drugs. Isn't that right, Helene?

                                             HELENE
                    A few times.

                                                  BRESSANT
                    Where?

                                                 HELENE
                       Providence . . . Does it matter?

                         

                                                  LIONEL
                       For what?

                         

                                             HELENE
                    For fuckfs sake, Lionel. What do you
                    think? Money. A taste . . .

                         

                                            LIONEL
                   Of what, drugs?

                                            HELENE
                   Yeas, Lionel.

                         

                                            BEATRICE
                   What kind of drugs?

                                                HELENE
                    Yay, ron. . .

                                             BEATRICE
                    What does that mean?

                         

                                             POOLE
                    Cocaine and heroin.

                         

                                             BEATRICE
                    No, we would have seen the tract marks--

                         

                                             BRESSANT
                    Not if you snort it, right sugar?

                                             HELENE
                    Less addictive that way.

                         
          Helene gets up and gets a beer. It's 10:15 am.

          INT. HELENE'S LIVING ROOM - LATER


                         
          The conversation has moved to the living room. The same
          participants, but the collection of EMPTY BEER CANS
          surrounding Helene suggest she's loosened up some.

                         
          Patrick peers out the WINDOW to see the CIRCUS below (POV)

                                             BRESSANT
                    I don't know Helene. I keep thinking
                    about this thing I heard. You know where
                    I'm going with this?

                                              HELENE
                    No.

                                             BRESSANT
                    Did you know I used to work DCU?

                         

                                             HELENE
                    I give a fuck.

                         

                                             BRESSANT
                    Right. So, I still know some of those
                    guys real well. Anyway, I heard that
                    someone ripped Cheese off on a New
                    Hampshire run. You didn't hear that, did
                    you?
          Angle on Patrick and Angie.

                                                 HELENE
                    No.

                                             BRESSANT
                    Care to take a polygraph?

                                              HELENE

                                        (PROUDLY)
                    Already passed.

                                             BRESSANT
                    Different questions this time.

                         

                                             POOLE
                    How much you take, Helene?
          Nothing. Angle on Patrick.

                         

                                              POOLE (CONT'D)
                    It's all right. We don't care about
                    hopheads beatin' each other. We care
                    about your daughter.

                                        (GENTLY)
                    Come on. How much?
          A beat.

                                             BRESSANT
                    You want Amanda back or not?
          Silence in the room.

                         

                                             BRESSANT (CONT'D)
                    Do you give a fuck about your kid?
          Another beat.

                                             POOLE
                    We know you took the money. How much did
                    you take?

                                             BRESSANT
                         rising, scary)
                    How much?
          She takes a pull on her beer. Looks around. Fuck it.

                         

                                             HELENE
                    Ninety five.
          The room goes quiet.

                                                 LIONEL
                    Hundred?

                         

                                             HELENE
                        rolls her eyes)
                    Thousand.

                         

                                             BEATRICE
                    Nintey five thousand dollars?!

                                                HELENE
                    Yeas, Bea!

                         

                                             BRESSANT
                    Howrd you do it.
          She exhales a long thread of smoke.

                                             HELENE
                    Two weeks ago me and Ray did a run up
                    Nashua to drop four keys on some bikers.
                    When we was walking back through the
                    motel with the money, all these cops
                    swooped in and went for the bikers.
                    Amanda was with us so we pretended to be
                    like a family and they went right past
                    us. So we just-- got in the car and took
                    off.

                                             BEATRICE
                    You took Amanda with you?

                                             HELENE
                    What am I gonna do? Leave her in the car,
                    Bea?

                                              BEATRICE
                         (shakes head, plainly)
                    You are an abomination. God as my
                    witness.

                                               HELENE

                                         (GETS 'EMOTIONALR)
                    You know what, Bea? It's hard bein' a
                    mother. It's hard raisinf children.
                          (beat, pointedly)
                    And if God made you barren then you
                    can' t judge me. 'Cause you wouldnrt
                    fuckin' know.
          By Bears silence, and the narrowing of her eyes, we presume
          this to be a low blow and that Bea can't have children.

                                                 BRESSANT
                    Hey.
                         (snaps fingers at Helene)
                    Right here. What happened?

                         
          Helene takes a pull from her beer.

                                             HELENE
                    When we was driving back. Ray's like,
                    'everyone's gonna think the cops got the
                    money too.'

                                             BRESSANT
                    You told Cheese the cops got it?

                         

                                             PATRICK
                    But you and Ray kept the money?

                         

                                             HELENE
                    This whole fuckin' thing is Ray' s fault.
          Reactions to this realization.

                                             POOLE
                    Where's the money now, Helene?

                         
          She looks at him.

                                             BRESSANT
                    You want to find your daughter?

                                                HELENE
                    Of course.

                         

                                             POOLE
                    Then you need to tell us. Where is it?

                                                HELENE
                    With Ray.

                                              BRESSANT
                    And where's Ray?

                         

                                                HELENE
                    Chelsea.

                         

                                             BEATRICE
                    Three days, Helene? You've known this?
                    And she could be alive?

                                               BRESSANT
                    Let's go.

                                        (INDICATES PATRICK)
                    She rides with you. I don't want her in
                    my car.

                         

                            ANGIE'S CAR, CHELSEA - DAY (MOVING)

                         INT PATRICK   &

                         
          Patrick drives. Angie rides shotgun. And Helene slumps in the
          backseat.
          They drive without saying anything. Helene looks up at
          Patrick.

                                             PATRICK
                    Helene, you went to St. Mark's?

                                             HELENE
                    Yeah. Did you?

                                             PATRICK
                    I was freshman when you were a senior.
                    You were with Scott Flaherty?

                                             HELENE
                    Oh, him? He stabbed a foreign exchange
                    student in the chest. Got life. He's a
                    faggot now.

                         
          Beat.

                                             PATRICK
                    Seemed like he was already a faggot in
                    high school.

                         
          She laughs.

                                             HELENE
                    You're terrible.

                         
          She smiles,

                                             PATRICK
                    How did the money end up with Ray in
                    Chelsea? I thought you went home after.

                                              HELENE
                    We dropped off Amanda, went back to Ray's
                    then fuckin' retarded Ray left his rock
                    at my place-- right then I was like 'I'm
                    dropping this motherfucker, I don't care
                    if he does have a big dick' so we went
                    back to the apartment, he was, hollerin'
                    and gonna wake up Amanda, who needs her
                    sleep, so we went back to Ray' s. Ray' s
                    mother's, whatever. I don't know where
                    the mother is but she left all her
                    fuckin' cats and it smells like cock in

                                   THERE--

                                             PATRICK
                    Cheese never contacted you? They never
                    left a note?

                                              HELENE
                    No. We never heard nothin' from them.
                    That' s why Ray said don' t say shit .

                         
          Patrick and Angie look back and forth.

                                               ANGIE
                    You didn't think it was worth it, for
                    your daughter's sake, to tell people what
                    happened?

                                        (BEAT)
                    Cheese has your kid right now. God
                    fuckin' knows what he's doing to her.
                    What do you think Amanda would give to
                    come home ?

                                             HELENE
                    What am I gonna do? Call Cheese and be
                    like-- do you have my daughter? 'Cause I
                    ripped you off and I'm just checkin'?

                         
          Patrick says nothing.

                               HELENE (CONT' D)

                                       (DEFENSIVE)
                    Am I gonna tell the cops "I run heroin in
                    case that' s irrelevance?"

                                             PATRICK
                    The cops never asked you about Cheese
                    before?

                                             HELENE
                    No.

                                               PATRICK
                     What if Ray already spent the money?

                         
          A beat.

                                              HELENE
                     Nigga, please. I hid it.

                         
          She rolls her eyes.

                                   HELENE (CONT' D)
                     Pull over.

                                                                                CUT TO:

                         

          INT RAY'S HOUSE - MOMENTS LATER

                         
          All, save Helene, stare at something just off camera. Angie's
          hand to her face. They register a beat of stunned silence

                         BROKEN BY :

                                                  BRESSANT
                     Christ. . .

                         

          ANGLE ON : RAY LIKANSKI ' S DEAD BODY.

                         
          He has been tied to a chair in his kitchen. Gunshots are what
          killed him and the condition of his corpse suggests death
          came as a relief.

                         
          There are FIFTEEN CATS wandering around the house, meowing.

                                              BRESSANT (CONTFD)
                     They tortured him.

                         

                                              POOLE
                     Looks like he held out pretty long.

                                               PATRICK
                     He didn' t have it.

                                                  POOLE
                     Huh?

                                               PATRICK
                     He couldn't tell them where it was 'cause
                     he didn't know. Helene hid it.

                         
          Bressant chuckles.

                                              BRESSANT
                     Ray made poor relationship choices.

                                               PATRICK
                         (re: Ray's body)
                    Guess they didn't believe him.

                                             POOLE
                    Poor prick.

                               HELENE (0.3.)

                                        (ENTERING)
                    I'm not waitin' in the fuckin' car--

                         
          She sees Ray and holds her hand to her mouth. It's unclear
          whether she is about to cry or vomit. Whichever it is, she
          runs out into the backyard to do it.

                         
          Patrick goes after her.

          EXT. RAY'S BACK YARD --MOMENTS LATER

          Helene's make-up is a mess. Patrick stands next to her.

                                               PATRICK
                    It's okay . . .

                                             HELENE
                    I just want my daughter home with me.

                                             PATRICK
                    Did Cheese know you were on the ride with
                    Ray?

                                             HELENE
                    I think so.

                                                 PATRICK
                    Okay . . . Where's the money, Helene?
          Poole and Bressant emerge from the house.

                                             HELENE
                    Right here.

                                              PATRICK
                    Where?

                                             HELENE
                    I buried it when Ray was passed out.

                         

          EXT. RAY'S BACK YARD - LATER


          CLOSE ON: A BAG IN A FRESHLY DUG HOLE IN THE DIRT.

                                              POOLE
                    What was that book about 'everything you
                    need is in your own backyard?' It's a
                    French book.

                         
          He pulls a DUFFEL BAG from the ground. He opens it to reveal

          NINETY FIVE THOUSAND IN CASH.

                                              BRESSANT
                    That wasn't a book. It was a cartoon
                    Helene knows.

                                               HELENE
                    Fuck you.

                                             ANGIE
                    So, you bring in the FBI at this point?

                                             BRESSANT
                    That's the worst thing we could do.

                                             ANGIE
                    Why is that?

                                             BRESSANT
                    'Cause I don't want Cheese to open a bag
                    full of newspaper and kill Amanda.

                                               ANGIE
                    It ' s kidnapping.

                                              BRESSANT
                    I don't see a note.
                         (turns To Poole)
                    You see a note?

                                               POOLE
                    Nope.

                                             BRESSANT
                    We're investigating a missing children's
                    case. Has nothing to do with kidnapping.
          He turns to Patrick and Angie.

                              BRESSANT (CONT' D)
                    Fastest way Amanda gets home is we go to
                    him, swap the money for her and walk
                    away.

                                     POOLE
          So everyone keep their mouths shut.

                              (BEAT)
          Helene.

                                    HELENE
               (to Patrick, looking for help)
          Do you know Cheese?

                                    PATRICK
          When we were ten. He hardly spoke
          English. His brother Jude was a sweet
          kid.

                              (BEAT)
          Cheese went another way.

                                    HELENE
          He wouldn't hurt her, right?

                                    POOLE

                              (INDICATES HOUSE)
          Ask Ray.

                                   ANGIE

                             (TO HELENE)
          You know how he got his name?

                                   HELENE
          No.

                                   ANGIE
          He moved here when I did. There was a lot
          of tension between black American kids
          and Haitians-and he got it the worst.He
          had no running water at home. This one
          girl was on him real hard 'cause he
          smelled bad, calling him 'cheese.' All
          of a sudden, he breaks a bottle, holds
          her down, and carves the word Cheese in
          her face. She lost an eye. Someone found
          it on the sidewalk the next day.

                                   PATRICK
          And the name stuck.

                                   ANGIE
          But I'm sure Amanda will be fine.

                                   BRESSANT
          Just keep your mouth shut, okay? We can
          get her back. It'll be fine. I have no
          fear of this idiot.

                                               HELENE

                                        (TO BRESSANT)
                    You're gonna talk to him?

                         

                                             BRESSANT
                    That's the next step, yeah.

                                              HELENE
                    Tell him I'm sorry. Tell him I apologize.

                                             POOLE
                    Sorry goes a long way.

                         

                                              HELENE
                         (sniffles, remembering fondly)
                    She's a handful, that one. At least I
                    know she's giving them hell.
          They react to this woman's feeble grip on reality.

                                             PATRICK
                    What about Ray?

                                             BRESSANT
                    You know what percentage of murders were
                    solved last year in Boston? Twenty nine.
                    Less in Chelsea.

                                             POOLE
                    Take her home. We'll handle Chelsea.
          They move to go.

                                             HELENE
                    I'm hungry.

                                              PATRICK
                    We' 11 get you some food.

                         

                                              HELENE
                    No, her. That's the last thing she said
                    to me before I put her to bed. She said,
                    'Ifm hungry." I mean, they fed her,
                    right? She's not still hungry?

                                             PATRICK
                    I donft know.

          EXT. HELENE'S APARTMENT - MAGIC HOUR

          Angie waits in an idling car while Patrick walks Helene to
          the door of her apartment.
           W d o l l y w i t h them a s t h e y g e t o u t o f t h e c a r and c r o s s t h e

                           E
          s t r e e t . A s we d o s o we p u s h i n . When we a r e t i g h t enough, we
          r e v e a l Helene h a s s t a r t e d t o c r y .

                         

                                                        HELENE
                          I know I f u c k e d u p .

                                                  (CRYING INTENSIFIES)
                          I want my d a u g h t e r b a c k . I s w e a r t o God
                          I ' 1 n e v e r u s e no d r u g s no more, I f 1

                                              1                                              1
                          n e v e r go o u t , I ' 1 b e f u c k i n ' straight.

                                                                   1
                          C r o s s my h e a r t .

                         

                                                       PATRICK
                          I t ' s okay, w e ' l l f i n d h e r .

                         

                                                     HELENE
                          Promise y o u ' l l g e t h e r back. P l e a s e .

                         

                                                      PATRICK
                          1/11 t r y . I w i l l .

                         

                                                       HELENE
                          You h a v e t o promise.

                         
          Patrick looks a t her.

                         

                                                          PATRICK
                          I promise.

                         
          An i n t r e p i d FIELD REPORTER r e a l i z e s H e l e n e i s t h e r e and
          t h r u s t s a MICROPHONE i n h e r f a c e .

                         

                                           INTREPID FIELD REPORTER

                                                ( FAUX CONCERN)
                          H e l e n e , w i t h t i m e r u n n i n g o u t on d a y
                          t h r e e , do you f e a r t h e w o r s t ? Most
                          c h i l d r e n missing t h i s long a r e k i l l e d .

                         

                                                          PATRICK
                                ( t o Helene)
                          Go i n s i d e .

                         
          Helene i s s c r a m b l e d , s h e makes h e r way u p t h e s t e p s . The
          r e p o r t e r f o l l o w s . P a t r i c k p u t s h i s h a n d s on him.

                         

                                    PATRICK (CONT ' D )
                          Hey. Hey. Fuck o f f .

                         

          E X T . ROXBURY MEN'S CLUB ROOF- S N SETTING T NIGHT

                                                           U           O

                         
          Wide a n g l e l e n s e s t a b l i s h i n g s h o t . Time l a p s e .

           EXT. ROXBURY STREETS - NIGHT

          Patrick and Angie roll through Roxbury, enjoying a few
          withering glances directed at two white people in a late
          model American car.

                         

          EXT . CHEESE' S APARTMENT, SHAWMUT AVE . ROXBURY   - NIGHT
          Patrick and Angie emerge from their car as Poole and Bressant
          do the same. Poole lights a cigarette.

                         

                                             BRESSANT
                    Where do you think you're going?

                                             PATRICK
                    To talk to Cheese.

                                             POOLE
                    No you're not.

                         

                                             BRESSANT
                    Get back in your car.

                                             PATRICK
                    That's a mistake. He'll never talk to a
                    badge. I know him. If there's a deal to
                    be brokered we're the ones who can do it.

                                             BRESSANT
                    No. Me and Nick are handling this. This
                    is too important.

                                             PATRICK
                    If you two go in, negotiate a ransom for
                    a girl, then it is kidnapping and that's
                    the FBI.

                                             ANGIE
                    All you're gonna do is scare him and the
                    more scared he is the worse it is for
                    her.

                         
          The look at each other.

                                             PATRICK
                    Do you want to get the kid back or not?

                         

                                             BRESSANT
                    I'm gonna take that as a rhetorical
                    question.

                                               PATRICK
                    Sit fuckin' tight. We know him, he111
                    talk to us and we'll be right back.

                                                                               CUT TO:

                         

          A PIPE BEING SMOKED. MARIJUANA BURNS

                         

          INT. CHEESE'S HOUSE, BACK ROOM - MINUTES LATER


                                             CHEESE
                    Been a long time.

                         
          CHEESE JEAN BAPTISTE sits in frame. He is a wiry, intense man
          who looks over Patrick and Angie suspiciously.

                         
          Along with Cheese, there are a MAN (CHRIS MULLEN, 30) and a
          WOMAN (Cheese's Girlfriend, 22, from Laos) .
          There are flat screen plasma TVs, piles of clothes and nearly
          sixty boxes of sneakers against one wall.

                         
          Patrick and Angie sit opposite Cheese.
          Cheese exhales. He gestures to his girlfriend.

                              CHEESE (CONT' D)
                    I'm a talk some private shit.

                         
          She starts to go. Chris remains.

                              CHEESE (CONT' D)
                    But don't get too far.

                                              GIRL
                    You know I' 11 be right here.

                         
          He looks them over. He is languid but extremely intimidating.

                                             CHEESE
                    Bitches love the cheddar.

                         
          Small laugh.

                                             PATRICK
                    How you been, Chris?

                                             CHRIS MULLEN
                    Better than you.

                                             PATRICK
                    Good to hear it.

                                               CHEESE

                                        (TO CHRIS)
                    Be cool.

                                       (BEAT)
                    Been too long not to see a fool. I give
                    you an audience.

                                       (BEAT)
                    Go.

                         
          Patrick and Anqie exchange looks. He goes.

                                             PATRICK
                    We found what you were lookin' for in
                    Chelsea.

                                             CHEESE
                    What makes you think I am concerned with
                    the doings in Chelsea?

                                             PATRICK
                    Cause I know one of the idiots who robbed
                    you lives there.

                                             CHEESE
                    What idiot?

                                             PATRICK
                    The one you just killed.

                         

                                             CHEESE
                    I don't know about nobody gettin' killed.
                    If someone robbed me and end up dead, you
                    know, life a ma' fucker.

                         
          He looks at Chris, they smile.   Angie leans forward.

                                              ANGIE
                    Cheese, I appreciate you're seeing us. I
                    know you're busy so we' 11 be quick.

                                        (BEAT)
                    We have your money. It was buried in
                    Ray' s backyard.

                                        (BEAT)
                    We want to give it back to you in
                    exchange for Amanda. The two police
                    outside are the only other people who
                    know. They're willing to risk their
                    careers to do this quietly and they've
                    sent us in here to demonstrate that.
                    They don't want to investigate you or
                    prosecute you for anything -- they just
                    want the girl back.

                                              CHEESE
                    What you talkin' about?   What girl?

                                              ANGIE

                                        (PATIENCE TRIED)
                    You know what girl. Cheese. Amanda
                    McCready. Who has nothing to do with
                    Helene stealing from you.

                                        (BEAT)
                    Don't punish her for who her mother is.

                                        (BEAT)
                    Tell us where to meet you, tell us what
                    your terms are and we'll do whatever
                    makes you comfortable. You'll get your
                    money and you made your point. Just give
                    us Amanda. Please.

                         
          Cheese seems confused.

                                             PATRICK
                    Cheese, look at me. No one gives    a fuck
                    what you did. I never even liked    Ray.
                    You get the money. The girl goes    home to
                    her mother we'll say we found her   in the
                    bushes or whatever.

                                             CHEESE
                    I donft know.

                                             PATRICK
                    No. Don' t do this, bro. This isn' t the
                    time for that. This is where you take
                    the offer. It's either this real quiet
                    or it's ten thousand fuckin' cops kickin'
                    the door down and arresting everybody.

                         
          Cheese, very casually, takes a HANDGUN from out of his
          waistband. He examines it.

                                             PATRICK (CONT'D)
                    Yo, yo, what is this?

                                             CHEESE
                    First of all, don't never come up in my
                    spot like that. You got my money? You can
                    leave that shit in the mailbox on you ass
                    way out. Feel me? Some other
                    motherfuckers let fools rob on 'em. I
                    don't play scrimmage-- but I don't fuck
                    with no kids--
          Something occurs to Cheese.

                                CHEESE (CONT' D)
                    Hold up.
          Cheese indicates Patrick's shirt with his pistol.

                               CHEESE (CONT' D)
                    Lift up yo shirt.

                                        (BEAT)
                    What? You thought we was cool? I ain't
                    down with you. Don't l e t me see a wire . . .

                         
          A little taken aback, Patrick lifts his shirt up.

                                              CHEESE (CONT'D)

                                        (TO ANGIE)
                    You, too, baby. Show me them tetons.

                         
          From behind, we see her lift her shirt, exposing her bra.
          Cheese seems satisfied.

                         
          He takes another whack at the pipe.

                              CHEESE (CONT' D)
                    I know one "McCready." Kept a bitch in
                    my stable by that name. No titties,
                    fucked up shit goin' on with the face--
                    But you give her the right shit she get
                    freaky. Bounce up and down on yo shit.
                    Pop! Pop! Go t h e w e a s e l .

                         
          He goes back for the pipe, seems to lose his concentration.
          Patrick unsnaps his holster, subtly.

                                              PATRICK
                    If you point a gun at her again I'm gonna
                    pull your fuckin' card, okay?

                                   (BEAT)
                    You' re saying you didn't do it? Okay.
                    What other choice do I have? We'll take
                    your money and go along our way.

                                   (BEAT)
                    But If I find out you' re lying, I'll
                    spend every nickel of your money
                    dedicated to fuckin' you up. I'll bribe
                    cops to go after you, I'll pays guys to
                    go after your crew, I'll tell everyone I
                    know that you're a C.I. and a rat -- and
                    I know a lot of people. Cheese. After
                    that, you're gonna wished you had
                    listened to me.

                                               (MORE)

                                                 PATRICK (CONT'D)
                       'Cause your shitty pool-hall crime
                       syndicate headquarters will be raided,
                       your doped up bitches will get sent back
                       to Laos and this dumb mutherfucker

                                      (RE: CHRIS)
                       will be testifying against you for a
                       reduced sentence while you end up in a
                       cell with a big motherfucker, his dick
                       and your Zippo 'cause from what I heard,
                       guys who kill kids aren't treated too
                       good in Concord. But maybe I'm wrong.
                       Maybe things are different these days.

                                                 CHEESE
                       Don't never speak to me that way.

                                           (HE SMILES)
                       You ain't shit. Yo bitch ain't shit.
                       Neither one of y'all motherfuckers is
                       shit. Fuck both ya' 11. If you didn't have
                       two pig out in my meadow--! put a round
                       in both your heads right now.

                         
          Cheese's eyes narrow, his pupils like black pinpricks in his
          irises.

                                 CHEESE (CONT' D)
                       And if that girl only hope is you. I pray
                       for her. She is gone, baby. Gone.

                         
          He laughs.

                                 CHEESE (CONT' D)
                       Out. And if I see you on the street, I'm
                       a get discourteous on you.

                         
          They get up.

                                                CHEESE (CONT'D)
                       And get this sausage off my lawn.

                         
          He indicates Poole and Bressant who can be see through the
          window, smoking on a small patch of dirt outside the
          apartment.

          EXT. CHEESE'S APARTMENT, SHAWMUT AVE. ROXBURY - MOMENTS LATER52


                         
          Patrick and Anqie approach Poole and Bressant. Patrick shakes
          his head.

                                                POOLE
                       What happened?

                                              ANGIE
                    He said he didn't know anything but if we
                    had his money we could leave it in the
                    mailbox.

                                             BRESSANT
                    Is that what he told you?

                         

                                              PATRICK
                    Yeah, that's it.

                         

                                             POOLE
                    He said nothing else?

                                             PATRICK
                    He wants you off his fuckin' lawn.

                                             POOLE
                    I thought you knew the guy.

                                             BRESSANT
                    Half the guys he grew up with are
                    degenerates.

                                             PATRICK
                    You know what the other half are?

                                                 BRESSANT
                    What?

                                             PATRICK
                    Cops. But don't hold it against me.

                                             BRESSANT
                    Nah. You know what I hold against you? We
                    had one chance to make this deal. You
                    said you knew him, you said you could do
                    it and you fucked it up. Now we have to
                    get a warrant for a tap, start
                    surveillance and hope to Christ we get
                    lucky. If that costs Amanda her life, I
                    won't have to hold it against you.
                    You'll hold it against yourself for a
                    good, long time.

                            ANGIE'S APT - NIGHT

                         INT PATRICK   &

                         
          Patrick and Angie in their bedroom. It's late and they can't
          sleep. A LOCAL NEWS REPEAT runs on the television woven into
          their dialogue. In effect, it will play like background.

                                              ANGIE
                    Look, the Police taking over isn't
                    necessarily a bad thing.

                                             PATRICK
                    No?

                                             ANGIE
                    They see more child exploitation in a
                    week than we could in a career...

                                             PATRICK
                    Makes you want to have kids.

                         
          This gets Angle's attention. She looks at him.

                                             ANGIE
                    Does it make you not want to?

                         
          Patrick drinks his beer.

                                             PATRICK
                    There's a political party in Holland that
                    openly advocates pedophelia and won seats
                    in parliament. In America four hundred
                    thousand kids get abused every year.
                    There are half a million convicted,
                    registered sex offenders, two-thirds of
                    them for molesting children under
                    fourteen, there are a hundred thousand
                    child porn web sites. They busted one in
                    texas had seventy thousand members--
                    people who gave their credit cards . . .
                    There's a group, the 'Rene Guyon'
                    society, whose motto is 'sex before eight
                    or it's too late.' There's a rise in the
                    victimization of 'pre-verbal' children,
                    for the obvious reason that they can't
                    report their accusers. One in five
                    American girls is sexually abused or
                    victimized before they turn eighteen. But
                    only one third of those every tells
                    anyone in their lifetime that they were
                    abused.
          She gives him a look: 'oh, really?'

                              PATRICK ( CONT ' D)
                    I read that in two minutes on the
                    computer while you were taking a shower.

                                              ANGIE
                    And that tells you you don't want
                    children.

                                             PATRICK
                    It tells me there aren't enough gas
                    chambers.

                         
          A beat.

                               PATRICK (CONT' D)
                    I' d love to have a kid.

                         

                                                 ANGIE
                    Yeah?

                                             PATRICK
                    I'm just not sure a kid would love to be
                    here.

                         
          She looks sympathetic.

                         

                              PATRICK (CONT' D)
                    I don't want to be the guy who fucked
                    this up.

                         

          INT. PATRICK       ANGIE'S APARTMENT, BEDROOM -MORNING


                                        &

                         
          Patrick is asleep. Angle is on the far side of the bed.

                         
          The phone rings.

                                                 ANGIE
                    Yeah?

                                             BRESSANT
                    Guess you did something right.

                                                 ANGIE
                    What ?

                                             BRESSANT
                    Cheese came around. Called in and said he
                    wants to make a drop. Said he left
                    something in your mailbox.

                                                 ANGIE
                    Really?

                                               BRESSANT
                    Well, you're gonna have to check the
                    mailbox yourself, but yeah.

                                                  ANGIE
                    Great.

                                             BRESSANT
                    It is and it isn't. They tape calls
                    coming into the station now.

                                             ANGIE
                    What does that mean?

                                             BRESSANT
                    It means Jack heard about it, he wants
                    you down here and he's fuckin' pissed.

                         

                              ANGIE'S APT - MORNING

          EXT. PATRICK    &


                         
          They walk out the front door and, sure enough, there is an
          ENVELOPE in the mailbox. But what gets their attention is
          that jammed into the box, along with the letter is AMANDA'S

          BLANKET.
          Patrick takes it out, hands it to Angie. They react.

          INT. BOSTON POLICE DEPARTMENT BUILDING          DAY


                                                                     -

                         
          Patrick and Angie follow Devin down the hall.

                                             PATRICK
                    What are you doing here?

                                             DEVIN
                    When the boss wants you met, he only
                    sends the best.

                                             ANGIE
                    Or when he wants you brought up the back
                    way.

                         
          Devin smiles.

                                                  DEVIN
                    That, too.

                         
          They walk through an area with cells in it that looks
          medieval. They move through another door into a small control
          room.
          Then they walk into a lobby.
           He comes to a stop at Doyle's SECRETARY'S DESK.
          His SECRETARY, RENE ( 3 0 , attractive) seems to know Devin.

                                               DEVIN (CONT'D)
                          (re: Doyle's ofice)
                      He in there?

                         
          She nods.

                                               RENE
                      Yeah he said just let 'em in.

                         

                                               DEVIN
                      That's what he said?

                         
          She doesn't answer.      Devin turns to Patrick and Angie.

                                                  DEVIN (CONT'D)
                      Good luck.

                         
          He starts back.   They turn to the door and ENTER.

                         

          INT. DOYLE'S OFFICE - DAY

          Patrick and Angie fail at entering unobtrusively. Poole and
          Bressant are being lectured by Captain Jack Doyle.
          Doyle turns his attention (for the first time) to Patrick and
          Angie.

                                                DOYLE
                           (to Patrick and Angie)
                      You're late.

                         
          Doyle picks up a paper TRANSCRIPT and hands it to Patrick.

                                               DOYLE (CONT'D)
                      This is the transcript of a call that was
                      recorded coming into the station this
                      morning. Care to read the highlighted
                      portion?

                         
          Patrick reads.

                                               PATRICK
                      Caller: Bitch you better have my money.

                         
          Patrick looks up.    The room is quite.   He continues:

                               PATRICK (CONT' D)
                    Detective Bressant: Who is this? Caller:
                    You know who the fuck this is, fool
                    (Creole curse words)- If you want that
                    girl back you need to meet me up Quincy
                    tonight. Fuck around for a minute and I
                    throw that girl in the lake.

                         

                                             DOYLE
                    The "lake" he refers to is the water in
                    the abandoned quarry.
          He refers to the transcript.

                         

                              DOYLE (CONT' D)
                    Detective Bressant goes on to make an
                    unauthorized ransom arrangement to
                    exchange Amanda McCready for a hundred
                    and thirty thousand dollars, tonight in
                    just that location.
          A moment of quiet. Doyle gestures toward Bressant.

                         

                              DOYLE ( CONT ' D )
                    After some discussion, Detective Bressant
                    was kind enough to produce this:
          He indicates the bag of money on his desk.

                         

                              DOYLE (CONT' D)
                    Look familiar?

                         
          Patrick and Angle offer a guilty plea by their silence.

                                             DOYLE (CONT'D)
                    Seeing as you two made the initial

                                   CONTACT--

                                             ANGIE
                    Captain, we were concerned for the safety

                                   OF--

                         

                                              DOYLE
                    I understand what your concern was. My
                    concern, interestingly, is also for the
                    well being of that child. And now that
                    concern has been elevated because of the
                    risky and ill-advised course of action
                    you people have taken.

                                        (BEAT)

                                               (MORE)

                               DOYLE (CONT' D)
                    The four of you have made me party to an
                    illegal activity without my knowledge or
                    consent and I don't fucking appreciate
                    it.

                                             BRESSANT
                    You don't have to be party to it, sir . . .

                                             DOYLE
                    The hell I don't. If I delay this now,
                    after this agreement, it would only
                    further endanger the life of this girl.
                    Does that sound like something you expect
                    me to do?

                                             PATRICK
                    I'll accept responsibility for--

                                              DOYLE
                    You' 11 accept-- Don' t come in here and
                    get noble with me. Responsibility is
                    earned. You can't take something you
                    have no shoulder for.

                         
          He gathers his composure.

                              DOYLE (CONT' D)
                    Let me see the note.

                         
          Patrick produces the note and the blanket.

                                               DOYLE (CONT'D)
                    Good God.

                                                                                 CUT TO:

          INT. TACTICAL BRIEFING ROOM - MINUTES LATER


                         
          Remy and Nick stand with Patrick and Angie going over the
          RANSOM MAP which is tacked to the wall. Next to it are a
          geographical survey of the quarry and a street map of the
          surrounding area.

                                             BRESSANT
                    They want to separate us.
          He points to diverging paths on the map.

                                              BRESSANT (CONT'D)
                    The note instructs you two to wait here
                    on the south side for Amanda and Nick and
                    I to be at the clearing by the edge with
                    the money.

                                              ( MORE )

                                               BRESSANT (CONT'D)

                                        (BEAT)
                    Once Amanda is turned over to you at your
                    position, call us on the radio and we'll
                    turn over the cash.

                         
          Doyle, having been observing, interjects.

                                              DOYLE
                    This man won't come alone. Who is he
                    likely to bring?

                                             PATRICK
                    Chris Mullen was in the apartment when we
                    made the offer.

                                             DOYLE
                    What do you know about him?

                                             PATRICK
                    Well, it was probably him that killed Ray
                    for Cheese. If I had to guess.

                                             POOLE
                    He didn't ask you what you guessed.    He
                    asked you what do you know.

                                              PATRICK
                    I know he's a six foot, thirty year old,
                    caucasian heroin addict. And I know it
                    was him, not Cheese, who rolled up Pokey
                    Jackson and shot him in the head.

                                        (BEAT)
                    So there's that, too.
          Remy is the voice of reason today.

                                              BRESSANT
                    I think we're all set here, Captain.

                                             DOYLE
                    No one else knows about this, correct?

                         
          Angie has a concern.

                                             ANGIE
                    I just wonder.. .

                                                DOYLE
                           (turns to ask: )
                    Yes?

                                               ANGIE
                     Are we rationalizing this? I mean,
                     wouldn't a hundred police up there be
                     better for her than the four of us?
          Doyle stops.

                                              DOYLE
                     What does that mean?

                                              ANGIE
                     I'm asking if keeping this quiet is
                     better for Amanda, or is it better for
                     us?

                         
          Doyle is opaque.

                                              DOYLE
                     Do you have any children, Miss Gennaro?

                         
          She shakes her head.

                                               DOYLE (CONT'D)
                     Then you've never lost one. My only child
                     was murdered. She was twelve. You heard
                     about it?

                         
          The question is rhetorical.

                                              DOYLE (CONT'D)
                     What you didn't hear, what you don' t
                     know, is what that feels like.

                         
          There are articles on the wall.   COP FATHER OF SLAIN CHILD

          VOWS: NEVER AGAIN.

                                DOYLE ( CONT' D)
                     What I live with? Is knowing my daughter
                     likely died crying out for me to protect
                     her, to come save her.

                                         (BEAT)
                     And that I never came.

                                         (BEAT)
                     She died afraid and alone, in a shallow
                     ditch bank, a few feet from the road and
                     not ten minutes from our house.

                         
          Silence.

                                              DOYLE (CONT'D)
                     I know what it is- to lose my child.
           He now gets more upset than he usually does delivering this
          speech.

                                              DOYLE (CONT'D)
                    God damn it.

                                        (BEAT)
                    You force my hand and then question the
                    way I handle to it? Question me?

                                              BRESSANT

                                        (TO ANGIE)
                    No one's questioning you.
          He relaxes a little.

                         

                                              DOYLE
                    I honor my daughter with this, this
                    division, so no parent has to live what
                    I've known . . .Not even a woman like Helene
                    McCready .

                                        (BEAT)

                                   THAT GIRL--
                         (indicates photo of Amanda)
                    is all I care about. And we're going to
                    bring her home.

                         

          EXT. AERIAL ESTABLISHING QUINCY QUARRY - SUNSET


                         
          From the sky, lit by the last slivers of light from a setting
          sun, we see the Quincy quarry. It has become, in essence, a
          huge lake, set a hundred or so feet into a rock quarry and
          surrounded by acres of dense pine. As we travel past the
          quarry, we see PATRICK'S CAR IN A PARKING LOT.

                         

                                        SUN JUST SET

          EXT. QUARRY PARKING LOT   -


                         
          The car idles. Patrick and Angie sit inside.

                         

                                             ANGIE
                    Why is he bringing us all the way up
                    here?

                         

                                             PATRICK
                    Dark, big, make sure he can get away.

                                             ANGIE
                    No. Something's wrong.

                         

                                             PATRICK
                    All he wants is the money. He just
                    doesn't want to get arrested doing it.

                                              ANGIE
                    They're gonna kill her. I can feel it.
          He looks out the window.

                         

          EXT QUARRY TRAIL - NIGHT

                         
          Angie, Patrick, Bressant, & Poole follow up a steep incline.
          Remy has the BAG OF MONEY.

                                             POOLE
                    This asshole could have picked somewhere
                    on level ground.

                                             BRESSANT
                    Keep the lights off for now.

                                             ANGIE
                    Is this where all the peak rocks have
                    names?

                                               PATRICK
                         (listing the names of the

                                         PEAKS )
                    Running Tierny, Leo, Dan, Gooch, Jigger,
                    Goreski and runnin' Mike.

                         

                                             POOLE
                    Where'd they get those fuckin' names?

                                             PATRICK
                    From the kids who died tryin' to jump off
                    em..

          EXT. QUARRY TRAIL - MOMENTS LATER


                         
          More climbing. It starts to get steep. Some stones come loose
          underfoot and trickle downhill. We see that the quarry rocks
          are covered in the graffiti left by previous visitors.
          They walk in silence.

          EXT QUARRY TOP - NIGHT - MOMENTS LATER
          They CREST the hill. The city lights are behind them and we
          move to reveal the QUARRY WATER below and the edge before
          them.
          The path forks in two, opposite directions.

                                               BRES SANT
                         (to Patrick & Angie)
                     This is where we part ways

                                               POOLE

                                         (SMILES)
                     Divide and conquer.

                         

                                       ( CONT ' D)

                                              POOLE
                     Be careful.

                                              ANGIE
                     You be careful.

                                              BRESSANT
                     Call us on the radio when you have her.

                                               PATRICK
                     We will.
          Bressant cranes his neck. A nervous tick. Finally:

                                               BRESSANT
                     Fuck it.
          And with that, he and Poole turn and head into the darkness.

                 - MOMENTS LATER

                         PATH
          Patrick & Angie are on a steep incline.    The vast openness of
          the quarry looms on their right.
          They climb still higher, finally arriving at 'rooftop.'

                         
          Patrick looks around. The view is breathtaking, but that
          isn't it. It doesn't make sense.

                                              PATRICK
                     How are they gonna get Amanda to us up

                                    HERE--
          A SPLASH IN THE WATER breaks the silence--

                         
          GUNFIRE and TWO MUZZLES FLASH on the opposite side.
          Staccato voices come across the radio punctuated by gunfire.

                                              POOLE ( WALKIE )
                     Remy, Watch out!

                                              BRESSANT (WALKIE)

                     I HEARD A SPLASH!
           Patrick and Angie take off running toward the gunfire.

                                             -

          EXT. QUARRY TRAIL       CONTINUOUS


                         
          Patrick and Angie come flying down the trail, skittering and
          falling. At one point Patrick comes perilously close to the
          edge but rights himself. Their flashlights come on, bobbing
          up and down frantically as they make their way back to Poole
          and Bressant at a full on sprint. They can hear Poole and
          Bressant out loud now, without the walkies.

                         

                              POOLE (O.S.)

                    SOMETHING WENT IN!

                               BRESSANT (0.S)

                    NICKY WATCH OUT!

                                        (BEAT)

                    THERE HE GOES!
          More shots.

                         

          EXT. QUARRY, CLEARING CLIFF - MOMENTS LATER


                         
          Patrick and Angie run down the trail and approach a clearing.
          POOLE AND BRESSANT are near its edge, chests heaving, and
          frantically looking down into the quarry.

                         
          Patrick TRIPS and goes flying, nearly LANDING on CHEESE'S
          BODY, shot dead.

                                             ANGIE
                    Where did she fall!?

                         
          Patrick gets up and runs to the quarry edge.

                                             POOLE
                    We heard it, too.

                                             BRESSANT
                    First thing I saw was something went in.

                         

                                             ANGIE
                    Where is she?!

                                             PATRICK
                    What happened?

                                             BRESSANT
                    We got one, the other took off.
          Patrick and Angie scour the water with their flashlights.

                                                 PATRICK
                       Right there!
          SOMETHING IN THE WATER. A flash of something flesh-colored.
          The minute she sees it, Angie SAILS OUT OVER THE CLIFF AND

          INTO THE WATER.
          His flashlight finds ANGIE SWIMMING DETERMINEDLY toward
          something. He scans and sees what she's after: AMANDA'S DOLL

          FLOATING IN THE WATER.

                                                POOLE
                       Jesus.

                         
          She DIVES beneath the surface . . .
          And finally emerges near the edge of the lake. She grabs hold
          of an outcropping. In her other hand she holds AMANDA'S DOLL,

          MIRABELLE .
          We move in on Angie, clutching the nightgown and the doll --
          shivering in the frigid, black water.

                         DISSOLVE :
          INT. ANGIErS HOSPITAL ROOM - CONTINUOUS
          Angie is in bed watching a news report, her leg bandaged from
          being slashed open on the rocks.
          Before Patrick enters we move in a long lens, near macro shot
          along Angie, beginning on darkness, then onto her bandaged
          leg, across the arm with an IV in it, stained by iodine and
          resting on her face.

                                                PATRICK
                       Is your leg alright?

                                                ANGIE
                       It will be. You hear anything?

                                                PATRICK
                       Cops found no one up there. Shocker. I
                       guess as soon as they had the money,
                       someone shot Cheese and another guy came
                       out shootin'. They must have tossed her
                       in.

                                                ANGIE
                       Why?

                                              PATRICK
                    I don't know. She saw their faces.      For
                    some people that's enough.

                                             ANGIE
                    But you and me could recognize Chris.

                                              PATRICK
                    Remy said the other two kids were black.
                    So it wasn't Chris.

                         

                                             ANGIE
                    Have they found her?

                                             PATRICK
                    No, but they got divers up there now,
                    so.. .

                                             ANGIE
                    Then she could be alive. She could be
                    hiding. She could be stuck . . .

                                                PATRICK
                    Yeah but, the one cop told me that two
                    years ago some guy killed his wife and
                    dumped her in there-- the divers found
                    the body . . .but it was so dark they lost
                    it and then they could never find it
                    again. There's so many crags and
                    outcroppings and old cars and shit.

                                        (BEAT)
                    So don't get your hopes up.

                         
          He sees she is crying.

                                              PATRICK (CONT'D)
                    Oh, hey.   It's okay. I know.

                         
          She bends over, more emotional pain than physical. She curls
          her knee up to her chin, holds her abdomen, in obvious pain.
          Patrick climbs into bed with her, wraps her in his arms.

                                              ANGIE
                    I'm sorry. . . I'm sorry. .

                                              PATRICK
                    Don' t say that.

                                             ANGIE
                    I'm sorry.. .

                                                   PATRICK
                     It's okay.
          We creep back slowly as the news plays.

                               DOYLE (ON TV)
                     . . . every
                              effort to recover her remains so
                     the McCready family can have a proper
                     burial. However this quarry is extremely
                     deep and treacherous. All too often she
                     keeps that which she takes in . . .

                         
          They cut back to the Anchor desk.

                               ANCHOR (ON TV)
                     Well, a sad end to that story, Susanne.

                               SUSANNE (ON TV)
                     Yes it is, Phil.

                               ANCHOR (ON TV)
                     Ron is next with Sports. The Bruins in
                     action tonight?

                               RON (ON TV)
                     Yes, they are, Phil. The B f s took a crack
                     at the Flyers tonight and the rough stuff
                     started in the first perio--

                         

                         DISSOLVE

                                          0.

                               PATRICK (V. )
                     And like that. She was gone.

                         

          PASSAGE OF TIME SEQUENCE. MUSIC OVER.

                             ANGIE'S APT - NIGHT

          INT. PATRICK   &


                         
          Patrick gets a beer out of the refrigerator.

                               PATRICK (V. 0. )
                     I tried to catch my balance, but the
                     world kept turning forward.

                             ANGIE'S APT - NIGHT

          INT. PATRICK   &


                         
          Patrick in the living room. The only light is the television.

          ON TV: A MUG SHOT OF CHRIS MULLEN.

                               PATRICK (V. )

                                         0.
                    Chris' run lasted a day and a half until,
                    from what they could tell, he ran into
                    someone else who wanted the money even
                    more than he did.

                         

                                             NEWSCASTER # 2
                    A Dorchester man was gunned down today . . .

                                             FIELD REPORTER # 7
                    In the third Dorchester slaying in as
                    many days, 29 year old Chris Mullen was
                    gunned down in an apparent robbery. The
                    Police Commissioner defended the rising
                    tide of crime as a statistical abberation
                    tied to growing umemployment and the
                    humidity of an unusually sweltering
                    summer month.

          INT. SAME - LATER

          Patrick lies on the couch, heavy. The coffee table is piled
          high with empty beer cans.

                               PATRICK (V. )

                                          0.
                    You couldn't turn on the television
                    without another kid gone and feared
                    whatever. Another horror story.

                              NEWSCASTER (ON TV)
                    Missing for four days and Shrewsbury is
                    gripped with fear. After Jimmy Pietro's
                    disappearance, doors are locked and
                    community watch patrols are being formed--

          INT. BOSTON POLICE DEPARTMENT BUILDING, 4TH DISTRICT - DAY


                         
          Boxes are being piled and a photo of Doyle is among them.

                         

                                             NEWSCASTER # 3
                    A chief under fire. The legendary captain
                    of a unit dedicated to children stepped
                    down today in the aftermath of
                    controversy.

                          ROAD - DAY

          EXT. TOWNSEND


                         
          Doyle's 'summer cottage.' He pulls up in a Suburban and gets
          out of the car. The first time we see him in plain-clothes he
          looks humbled.

           INT. FATHER'S FOUR BAR - MONTAGE

          Bressant and Poole drink with Patrick

                                             PATRICK
                    It's bullshit. He was trying to save her
                    life.

                         

                                              POOLE
                    They don't see it that way.

                                             PATRICK
                    Can he fight it?

                         

                                              BRESSANT
                    When you gamble, you don't put money on
                    the table if you're gonna cry about
                    losing it.

                                             PATRICK
                    What did he get?

                                             BRESSANT
                    The dignity of early retirement-- and the
                    humiliation of half a pension.

                                             PATRICK
                    What about you guys?

                         

                                             POOLE
                    You don't have to call Remy 'sergeant'
                    detective anymore.

                                             BRESSANT
                    Hey look, it's patrolman Raftopolous-

                         
          They laugh.

          INT. FUNERAL PARLOR BASEMENT       MONTAGE


                                                        -

                         
          The small room is full of people at a wake for Amanda. Helene
          sits up front with Lionel, Bea, and Dottie. Patrick and Angie
          stand near the rear.

                              PATRICK (V. )

                                         0.
                    There were others who didn't share their
                    gifts for stoicism.
          A small mounted photo of Amanda sits in an empty and
          impossibly small casket. Helene starts to rock back and
          forth, then lets it go-- a fountain of grief and a future of
          unending pain.

                                PATRICK (V. ) (CONT'D)

                                         0.
                    They called off the search and issued
                    Helene a death certificate. She elected
                    to have a memorial service with a child's
                    casket there as a symbol. The guilt,
                    shame and agony inside Helene, finally
                    found their way out.
          Helene opens her mouth with a cry, too painful for sound.

                             ANGIE'S APT, BATHROOM - MONTAGE

          INT. PATRICK   &


                         
          Patrick comes in, Angie is in the bathtub

                         

                                                 PATRICK
                    Hey.
          Angie doesn't say anything.

                                  PATRICK (CONT' D)
                    I'm sorry.

                                             ANGIE
                    It's not your fault.

                         

                                             PATRICK
                    Yeah it is. I wanted to do this.

                         

                                             ANGIE
                    I did, too.

                                              PATRICK
                    I'm sorry this happened to us.

                                        (BEAT)
                     I want it back like it was.

                         

                                               ANGIE
                    It' s okay.

                                        ( TRYING)
                    It' s just rain.

                             ANGIE'S APT - NIGHT

          INT. PATRICK   &


                         
          Patrick comes home. Closes the front door. He moves down the

          HALLWAY.

                              PATRICK (V. )

                                          0.
                    And when she didn't think I was home, or
                    if she thought I couldn't hear, she would
                    cry.
           The bathroom door is closed but a sliver of light and a
          shadow can be seen in the crack below.

                              NEWSCASTER # 2 (O.S.)
                    A missing boy, a bicycle, left roadside.
                    A tire left spinning. Wanda?

                         

          INT LIVE BOOTLEG       HAPPY HOUR

                                            -

                         
          The news plays on a TV behind the bar.

                                 PATRICK (V. 0. )
                    I did the only thing that seemed to help.
                    I drank . . . And for a few hours the world
                    would go quiet and I could breathe.

                         
          Patrick sits at the bar with Bubba.

                              PATRICK (CONT' D)
                    I don't know. It just seems a little gay
                    to have a couch like that

                         

                                             BUBBA
                    Who are you, fuckinf Martha Stewart?

                                             PATRICK
                    Do you even know who that is?

                                             BUBBA
                    I know she was in the can.

                         
          He gets up, swallows the last og his beer.

                              BUBBA (CONT' D)
                    I need you to come on a ride with me.

                                                 PATRICK
                    Where?

                                                 BUBBA
                    Everett.

                         
          Beat.

                                             PATRICK
                    Why the fuck you want to go up Everett
                    for? No parties in Lynn?

                                             BUBBA
                    Something I want you to see

                                              PATRICK
                    You already took me to the Portuguese
                    strip bar in Lynn. That place was tired.

                                             BUBBA
                    You got your toast?

                                               PATRICK
                    My what?

                                             BUBBA
                    Your gun, dummy.

          EXT. ROUTE 1A - SUNSET, MAGIC HOUR

          Bubba's Navigator, full chrome package cruises down the
          parkway.

          INT. BUBBA'S NAVIGATOR        CONTINUOUS


                                                   -

                         
          Bubba and Patrick ride silently. Patrick drinks a BEER.

          EXT. EVERETT STREET       DUSK


                                               -

                         
          This used to be a neighborhood where families lived and
          worked in factories nearby. The factories are long gone and
          the families with them. All that remains are the ghosts of
          their homes, derelict and near abandoned for decades.
          They are ringed sparsely by the kind of industrial facilities
          self-respecting neighborhoods won't permit.

                         
          The Navigator pulls up outside a particularly decrepit house.

          INT. BUBBA'S NAVIGATOR - CONTINUOUS

          Bubba takes a Beretta from beneath his seat. He checks the
          clip. Patrick gives him a look.

                                             BUBBA
                    Calm down. I'm doing you a favor.

                                               PATRICK
                    You are?

                                             BUBBA
                    You were lookin' for someone. I found 'em
                    for you.

                                             PATRICK
                    The case is over.

                                                        BUBBA
                          You d o n ' t c a r e a b o u t t h a t Corwin E a r l e
                          dude n o more?

                         
          T h i s i s a g e n u i n e q u e s t i o n . Bubba went o u t o f h i s way t o h e l p
          P a t r i c k and now f e e l s a l i t t l e h u r t .

                         

                                           BUBBA (CONT ' D )
                           'Cause t h e f a t b i t c h and t h e o l d d u d e a r e
                          i n t h e r e . M man d i d n ' t know a b o u t t h e

                                                           Y
                          diddler.

                                                 (BEAT)
                          Watch my s i d e a n d w e ' l l r o l l u p on t h i s
                          f o o l and s e e i f t h a t m o t h e r f u c k e r ' s i n
                          there.

                                                 (BEAT)
                          But b e r e a d y . W m i g h t have t o g e t down

                                                               E
                          a n d I d o n ' t want t o s e e you g e t k i l l e d .

                         

                                                        PATRICK

                                                  (GETTING OUT)
                          L e t ' s go.

                         
          He l o o k s a t P a t r i c k . P a t r i c k o p e n s t h e d o o r .

                         

          EXT. EVERETT STREET - CONTINUOUS


                         
          Bubba and P a t r i c k walk up t h e s t e p s . Bubba pounds h i s f i s t on
          the door.

                         
          Two b o l t s u n l o c k w i t h a SHARP SNAP and t h e d o o r c r a c k s o p e n .
          P e e r i n g t h r o u g h t h e n a r r o w o p e n i n g i s LEON TRETT.

                         

                                                      LEON
                          Jerome M i l l e r ?

                         

                                                        BUBBA
                          No, i t ' s t h e c o k e f a i r y . Open u p .

                         

                                                        LEON
                           I g o t t h e money r i g h t h e r e .

                         

                                                    BUBBA
                          Marmaduke. You t h i n k y o u ' r e gonna hand me
                          money on a p o r c h ? Open t h e f u c k i n ' d o o r .

                         
          A b e a t . The d o o r SNAPS o p e n . They h e a d i n .

                         

                                                      LEON
                               ( r e: P a t r i c k )
                          Who's h e ?

                                               BUBBA
                    He' s your father
                         (moving him aside)
                    Look out.

                                             LEON TRETT
                    Okay, chill.

          INT TRETT HOUSE - CONTINUOUS
          Bubba and Patrick step inside. It's a dirty, grim place.
          They follow Leon down a hallway and through several rooms.
          Music comes from upstairs.

                         

                                             BUBBA
                    You guys startin' a band?

          INT KITCHEN - LATER
          Bubba throws Leon a small "taste bag." Leon tosses Bubba a
          KNOT OF MONEY. Leon promptly empties the bag and snorts it
          from atop his closed fist. Bubba sighs at the mess of money
          he' s been given.

                                             BUBBA
                    Organizational skills are poor.

                         
          ROBERTA TRETT, a LARGE and UNATTRACTIVE woman appears.

                                             ROBERTA
                    I told you to call me when it got here.

                                             LEON
                    It just got here.

                                             ROBERTA
                    You already did some.

                                             LEON
                    I did two l i n e s . That was the taste bag.

                         
          Leon gives Patrick a look: Women.

                         
          Roberta POPS Leon in the face. He holds his hand to his face

                                             ROBERTA
                    That's for gettin' wise.

                                             LEON
                    I said I'm sorry.
          Roberta takes the bag and snorts some from her pinky nail.

                                               BUBBA
                         (gives Patrick money)
                    Patrick, count this . . . fuckin' mess.

                         
          Bubba starts walking around.

                                             LEON
                    Where's the rest?
          Bubba looks into the next room.

                                              BUBBA

                                       (OFFHAND)
                    Soon as he's finished counting.

                         
          Roberta and Leon exchange a look.

                                             PATRICK
                    A hundred. One fifty . . .

                                             ROBERTA
                    Mr. Miller. Do you mind?

                                              BUBBA
                    No. I don't mind.

                         
          He walks past them and looks into the back.

                                                ROBERTA
                    Excuse me.

                                             BUBBA
                    I said I donrt mind.
          Patrick is still counting.

                                             PATRICK
                    Four eighty . . .

                         
          Leon nervously fingers a little martial arts knife.

                                             LEON TRETT
                    Please donrt poke around, sir.

                                                BUBBA
                    Relax.

                                                ROBERTA
                    Excuse me.

                         
          Bubba keeps going, moving toward the back of the house.

                                                      LEON TRETT
                          Where t h e f u c k you t h i n k y o u ' r e g o i n g ?

                         
          Bubba i s h e a d i n g t o w a r d t h e s t a i r s .

                         

                                                            ROBERTA
                          Excuse me!

                         
          He k e e p s g o i n g b a c k .

                         

                                            ROBERTA (CONT ' D )
                          M i s t e r M i l l e r , I ' m warning y o u .

                         
          Leon and R o b e r t a f o l l o w him b a c k t o t h e s t a i r s . Bubba l o o k s
          up and b e g i n s t o a s c e n d when:

                         

                                             ROBERTA ( CONT ' D )
                          Stop!

                         
          T h i s i s a d i f f e r e n t t o n e . He l o o k s u p . She i s h o l d i n g a
          c r a p p y l i t t l e REVOLVER. They have a b e a t .

                         

                                                    BUBBA

                                              (DEADPAN)
                          Patrick, shoot t h i s bitch.

                         
          She t u r n s t o s e e PATRICK s t a n d i n g b e h i n d h e r , h o l d i n g h i s
          gun. He h a s d r o p p e d t h e money on t h e f l o o r .

                         
          Bubba l o o k s r i g h t i n h e r f a c e .

                         

                                        BUBBA ( CONT ' D )
                          You f a t , b u s t e d c u n t . You p u t a gun on
                          me, you b e t t e r f u c k i n ' u s e i t .

                         
          A beat.

                         

                                        BUBBA (CONT ' D )
                          You d o n ' t want t o s h o o t h e r ,      Patrick?

                         
          She r u n s o u t o f o p t i o n s .

                         

                                                      ROBERTA
                          J u s t give us t h e fuckin'             wizza.

                         

                                                      BUBBA
                          What t h e f u c k i s a ' w i z z a ? '

                         
          Bubba h e a r s s o m e t h i n g a t t h e t o p o f t h e s t a i r s .

                         

                                        BUBBA ( CONT ' D )
                          Who's t h i s ?
           Corwin E a r l e h a s c r e p t i n t o t h e room and i s p e r c h e d a t t h e
          t o p o f t h e s t a i r s . He w e a r s a SILVER C H A I N AND MEDALLION
          around h i s w r i s t .

                         

                                                   ROBERTA
                          Corwin, go b a c k t o y o u r room.

                         
          He s l i n k s o f f . Bubba and P a t r i c k t r a d e l o o k s .

                         

                                    ROBERTA ( CONT ' D )
                         Give u s what we p a i d f o r .

                         
          Bubba t h i n k s .

                         

                                                  BUBBA
                         How much money was t h a t , P a t r i c k ?

                         

                                                         PATRICK
                         A thousand.

                         
          Bubba r e a c h e s i n t o h i s p o c k e t and p u l l s o u t a b a g . He EMPTIES

          I T ON THE H L W Y FLOOR.

                                        AL A

                         

                                                      BUBBA
                         T h e r e you go, l a d y .

                         
          He s t a r t s o u t . P a t r i c k moves t o f o l l o w .

                         

                                      BUBBA (CONT ' D )
                              ( t o Patrick)
                         Where you g o i n ' ? P i c k up t h e money.

                         

          BOOM. A TRUNK OPENS AS WE CUT T THE NEXT SCENE

                                                        O

                         

          EXT. TRETT HOUSE - MINUTES LATER


                         
          POOLE and BRESSANT who r i f l e t h r o u g h t h e i r t r u n k , p u t t i n g on
          v e s t s and r e a d y i n g t h e i r weapons.

                         

                                                          PATRICK
                         T h e r e ' s a t l e a s t two guns i n t h e h o u s e .
                         R o b e r t a ' s c a r r y i n g h e r s on h e r .

                         

                                                         BRESSANT
                         What e l s e ?

                         

                                                     PATRICK
                          They're d e f i n i t e l y high.

                         

                                                         BRESSANT
                          On w h a t ?

                                               PATRICK
                    Cocaine.

                                              BRESSANT

                                        (WINKS)
                    That what your 'friend' told ya?

                                             POOLE
                    SWAT will be here in five minutes.

                                             PATRICK
                    You're not gonna wait for them?

                                              BRESSANT

                                        (TO PATRICK)
                    Did you or did you not tell me that you
                    saw Corwin Earle with the medallion of
                    St. Christopher on his fucking wrist?

                                              PATRICK
                    I think it was a medallion.

                                        (BEAT)
                    It was definitely Corwin Earle.

                                              BRESSANT
                    We' re not waiting.

                         
          Poole cocks the shotgun. Bressant picks up the radio in his
          car.

                                             POOLE
                    Stay here. Don't fuck around.

                                             BRESSANT
                        (rapid fire cop speak)
                    290, German Road. Suspect 1860 moving in
                    now. Possible captive in danger.

                         
          Bressant throws the radio on his seat and starts for the
          house. As he goes, he turns back to Patrick.

                              BRESSANT (CONT' D)

                                       (GENUINE)
                    Nice job.
          As they reach the sidewalk out front, Bressant cuts across
          the yard toward the side of the house. Poole heads for the
          front door.
          Bressant does a ONE ARM COCK of the shotgun before
          disappearing from Patrick's sight.

           EXT. TRETT HOUSE       CONTINUOUS


                                            -

                         
          Poole rings the buzzer and steps back..

                         
          SHOTS FIRE THROUGH THE DOOR and clip into Poole. It seems
          almost too clumsy to be real. He falls over, holding his
          neck.
          A moment of STUNNED SILENCE, then:
          Patrick runs from the car. Staying low, he races for the
          cover of the FRONT YARD OF THE HOUSE.

                         

                         BANG-BANG-BANG-BANG-BANG-BANG
          Patrick TRIPS taking cover and is splayed across the muddy
          grass, looks over his shoulder.

                         
          Patrick reaches Poole and lies on top of him. He messily
          checks for a pulse, gets smeared with blood.
          Poole is torn up. Several rounds hit where the vest wasn't,
          including his neck. He grunts. Patrick fumbles for his cell
          phone.

                                              PATRICK
                    There's an officer shot. Shots fired. An
                    officer down at
                         (he looks up at the door)
                    Two-nine-zero German St.

                         
          Patrick hears shots from inside. He leaves his phone by Poole
          and heads inside.
          HOWLING can be heard from within.

          INT TRETT HOUSE - CONTINUOUS
          The foyer floor is spattered with blood. He cautiously moves
          forward.
          Into a completely bare room. He moves to the hallway.
          Just inside the hall a BODY lies motionless on its stomach.
          Patrick inches through the door, crouches next to the body,
          and cranes his head. It's Leon Trett: DEAD.
          Patrick momentarily pauses to examine Leon.

                         BOOM
           A GUNSHOT explodes and a SLUG rips into the wall above
          Patrick's head, showering him in plaster.
          Looking up, he sees Roberta Trett at the far end of the hall
          gripping her revolver.

                         
          BOOM BOOM, two more shots bury into the wall.

                                               ROBERTA

                                         (ENRAGED)

                     GET AWAY FROM HIM! GET AWAY FROM LEON!

                         
          She CHARGES. Patrick whips open a door opposite the one he
          just came through and leaps out of the hallway . . .
          And TRIPS up a staircase        SMACKING HIS FACE against the

                                                    --
          wood. . .
          Roberta FIRES UP AT HIM. He scrambles up the stairs and
          crashes his body against a STEEL DOOR at the top. It flies
          open and he tumbles through.

          INT. CORWIN'S BEDROOM - CONTINUOUS

          Patrick spins over and kicks the door closed. He springs to
          his feet, throws his body against the door, and locks it with
          the heavy DEAD BOLT on the POLICE DOOR.
          WHAM. Roberta slams into the other side of the door with
          everything she's got. She does it again, WHAM. And again,
          WHAM. But the door holds. Patrick turns to survey his
          surroundings.
          Patrick moves to ANOTHER ROOM outfitted with a COFFEE TABLE
          piled high with empty beer cans, a frayed COUCH, a small TV.
          The room connects to a small BEDROOM. Patrick steps toward.
          A SOILED, BARE MATTRESS lies in one corner.

                         
          Patrick steps in, his gun raised . . .

                         
          And finds himself staring directly into the face of:

          CORWIN EARLE.
          Crouched on the floor, naked from the waist down and wearing
          a half-shirt. His stare is bug-eyed & frightened.
          Corwin stares at Patrick, scared.

                                               PATRICK
                    Don' t move.

                                             CORWIN EARLE
                    It was an accident.

                         
          He looks up at Patrick like a whipped dog, eyes shifting
          nervously to the door.

                         
          Patrick cautiously pushes open the door to the bathroom.
          He looks in the sink. There are bloody children's underwear
          soaking.
          Then Patrick looks in the BATHTUB.

                         

          BLACK.
          And sees, curled in the fetal position, SAMUEL PIETRO,
          gagged, bound and suffocated. His bluish face frozen in a
          scream.

          BLACK.
          The blood rushes from Patrick's head. He retches violently.

                         

                         BLACK
          Close on Corwin, really scared. Really sorry.

                              CORWIN EARLE (CONT' D)
                    I didn't mean to.

                         

          BLACK.
          He stands over Corwin Earle and pulls back on the trigger. It
          takes longer and requires more strength than he thought it
          would to fire.

                         

                         BANG
          Patrick FIRES A ROUND into Corwin Earle's head.

                         

          BLACK.

          INT TRETT HOUSE       MOMENTS LATER

                                           -

                         
          Patrick stands in the threshold of the police door staring at
          the mammoth corpse of Roberta Trett, which lies at the bottom
          of the stairwell. Bressant stands over her. He looks up at
          Patrick.

           BLACK.

          EXT. TRETT HOUSE - NIGHT

          Patrick stands with officers who take his statement.

          BLACK.
          A tiny BLACK BODY BAG is wheeled past Patrick on a gurney.

          BLACK.

          INT HOSPITAL HALLWAY - NIGHT
          Patrick walks a BRIGHT              SHADOW-LESS CORRIDOR.

                                                        &

                         

          INT. I.C.U.       NIGHT


                                       -

                         
          Patrick approaches the room where Poole is buried in tubes
          and surrounded by family. His wife and two daughters look up
          at Patrick.

          BLACK.

                                                            NIGHT

          INT. HOSPITAL HALLWAY      -


                         
          Patrick stands, looking out a window into black. We hold his
          face and it's reflection in the glass: a two shot.
          In the reflection, we see Angle come up behind Patrick and
          put her arms around him. We dolly over to make them a 2-shot.

                                                   ANGIE
                    Hey. . .
          She puts her hand up to his face, the side of his head.

                              ANGIE (CONT' D)
                    Are you okay?
          He looks out through the glass.

                                                   PATRICK
                    No.
          She looks at him. Feels him.

                                              PATRICK (CONT'D)

                                        (BEAT)
                    Nick got shot.

                                                          ANGIE
                           I h e a r d . How i s h e ?

                         

                                                       PATRICK
                           He's i n w i t h h i s f a m i l y .

                         

                                                    ANGIE
                           You found t h e boy?

                         

                                                           PATRICK
                           I g o t wet t o d a y .

                         

                                                           ANGIE
                           I know.

                                                 (BEAT)
                           I ' m p r o u d o f you.

                         
          P a t r i c k l o o k s a t h e r , s u r p r i s e d by t h i s .

                         

                                        A N G I E (CONT' D)
                          T h a t man k i l l e d a c h i l d .       He had no r i g h t
                          t o live.

                         
          P a t r i c k t u r n s around t o f a c e h e r .

                         

                                                       PATRICK
                          You're p r o u d o f me?

                         

                                                        ANGIE
                          Of c o u r s e I am.

                                         (BEAT)
                          You d i d what you had t o d o .                 Now l e t ' s go
                          home .

                         

                                                     PATRICK
                           I need t o s t a y h e r e f o r a w h i l e .

                         

                                                           ANGIE
                          Why?

                         

                                                          PATRICK
                          Go home.         I ' l l b e back t h e r e soon.

                         

                                                     ANGIE
                          Are you s u r e ?

                         

                                                     PATRICK
                          Yeah.

                                              (BEAT)
                          I want t o be h e r e now.

                         
          He nods,      l o o k i n g b a c k o f f i n t h e d i r e c t i o n o f t h e window.

                                              ANGIE
                    Okay. I'll be at home.

                         

          EXT HOSPITAL - LATER

                         
          Patrick exits the front door of the Hospital and walks toward
          Remy, drinking from a bottle in a paper bag, who looks up at
          Patrick.

                                             BRESSANT
                    It's fucked up, right?

                                             PATRICK
                    They tell you anything about Nick?

                         

                                             BRESSANT
                    They say he could be okay. I don't know.

                         
          Bressant hands Patrick the bottle. Patrick sits down next to
          him. There is a beat. He drinks.

                                             PATRICK
                    How old did they say the kid was?

                                                BRESSANT
                    Seven.

                                             PATRICK
                    Second grade.

                                             BRESSANT
                    You should be proud of yourself. Most men
                    would have stayed outside.

                                              PATRICK
                    It doesn't matter.

                                                BRESSANT

                                       ( KNOWING)
                    Yes it does.

                                             PATRICK
                    I had a priest who always said, "shame is
                    God's voice telling us where we did
                    wrong. "

                                             BRESSANT
                    Fuck him, you did good.

                                             PATRICK
                    Murder is a sin.

                                              BRESSANT
                    Depends on who you do it to.

                                              PATRICK

                                        (QUIET MATTER-OF-FACT)
                    It don't work like that. It is what it
                    is.
          Bressant sees Patrick is struggling.

                                              BRESSANT
                    I planted evidence on a guy once.

                                        (BEAT)
                    We got a call from our pal Ray Likanski.
                    Back in '95 we were paying a hundred an
                    eight ball to snitches. He couldn't find
                    enough guys to rat out. Anyway, he tells
                    us there's a guy pumpin' out of an
                    apartment in Colombia point. Me and Nick
                    go in-- this was fifteen years ago; when
                    Nicky went in, it was no joke.

                                        (BEAT)
                    So it's a stash house, the old lady is
                    beat to shit and the husband is mean,
                    cracked out, tries to give us trouble.
                    Nick takes him down. We' re doin' an
                    inventory but it looks like we missed it
                    cause there's no dope in the house. I go
                    in the back room, now this place was a
                    shit-hole, mind you, rats and roaches all
                    over the place, but the kid's room in the
                    back is spotless. He swept it, mopped it.
                    Immaculate. The kid is sitting there,
                    holding on to his Playstation for dear
                    life, no expression, tears streaming down
                    his face. He wants to tell me how he just
                    learned his multiplication tables.

                                             PATRICK
                    Jesus.

                                              BRESSANT
                    The father has the kid living in a crack
                    den, subsisting on twinkles and ass-
                    whippings and the kid is still asking me,
                    "is my daddy all right?"

                                        (BEAT)
                    You're worried about what's Christian?
                    Kids forgive, they don't judge, they turn
                    the other cheek.

                                               (MORE)

                               BRESSANT (CONT' D)
                   What do they get for it?

                                       (BEAT)
                    I went back out and put an ounce of
                    heroin on the living room floor. Sent the
                    father on a ride. Seven to nine.

                                             PATRICK
                    Think you did the right thing?

                                             BRESSANT
                    I don't give a fuck. You take a side.
                    You beat a child, you molest a child, you
                    hurt a child -- you ain't on my side.
                    And hope you don't run into me because I
                    will lay you the fuck down. Easy.

                                              PATRICK
                    Doesn' t feel easy.

                                              BRESSANT
                    Look, was he better off without the
                    father? Yes. But okay, the kid might be
                    out there, pumpin7 with a gun in his
                    waistband. It's a war. Are we winning?
                    No.
                         (beat, shift)
                    Look, I got a great wife, money saved,
                    hit my 30 in three months, pick up that
                    pension and hail a fucking cab. Go down

                                   TO FLORIDA--

                                             PATRICK
                    'Cause a bad day in Florida--

                                             BRESSANT
                    --Better than a good day anywhere else.
          They share a small laugh,

                                             BRESSANT (CONT'D)
                    Would you do it again? Clip Corwin Earle?

                                              PATRICK
                    No.

                                             BRESSANT
                    Does that make you right?

                                             PATRICK
                    I donft know.

                                                    BRESSANT
                          Don't make you wrong t h o u g h , d o e s i t ?

                         
          He l a u g h s . T a k e s a d r i n k .

                         

                                         BRESSANT (CONT ' D )
                          When I s t a r t e d h e r e a n o l d e r c o p t o l d me:
                          D y o u r b e s t , l i v e w i t h y o u r r e g r e t s and

                                          O
                          d i e w i t h your s e c r e t s .

                                               (BEAT)
                          It's a l l I got.

                         

                                                            PATRICK
                          Maybe t h a t ' s a l l you n e e d .

                                                (RISING)
                          I ' m g o i n g home.
                                 ( s e r i o u s about Nick)
                          I f 1 s a y a p r a y e r f o r him.

                                              1

                         
          Remy g i v e s P a t r i c k a s m i l e .

                         

                         

                         

                                                      BRESSANT
                          Okay.

                                              (BEAT)
                          You g e t t o F l o r i d a ,   P a t r i c k , l o o k me u p .

                         
          P a t r i c k moves o f f i n t o t h e n i g h t .

                         

                                                       PATRICK
                          I w i l l . Take c a r e , Remy.

                         
          I N T PATRICK & ANGIErS APT, LIVING ROOM - NIGHT

                         
          P a t r i c k comes i n . Angie i s s i t t i n g on t h e c o u c h , i n t h e d a r k .
          P a t r i c k s t o p s when h e r e a l i z e s s h e i s t h e r e .

                         

                                                          ANGIE
                                 love.
                          Hi,

                         

                                                       PATRICK

                                                 (DISTRACTED)
                          Hi.

                         

                                                    ANGIE
                          Howr s Remy?

                         
          P a t r i c k t a k e s a second.

                         

                                                       PATRICK
                          He l i e d t o me.

           INT. PATRICK       ANGIE'S APT, KITCHEN


                                        &

                         
          Patrick is up now, mind going.

                                             PATRICK
                    Ray. Before he said he never heard of
                    him. Now he says they go back.

                         

                                              ANGIE
                    Ray Li kanski?

                                             PATRICK
                    Yeah. In Roxbury he tried to tell us he
                    never heard of him, now tonight he said
                    he been snitchin' for him for fifteen
                    years.

                                                 ANGIE
                    Patrick.

                                             PATRICK
                    This motherfucker lied to us about the
                    reason Amanda disappeared--

                                                 ANGIE
                    --Patrick.

                                                 PATRICK
                    What?

                                                 ANGIE
                    Let it go.

                                             PATRICK
                    Let what go?

                                             ANGIE
                    I don't care about Remy. I don't care if
                    he's crooked. We don't need any more of
                    this. It's enough.

                                             PATRICK
                    After what we been through? You want me
                    to 'let it go?'

                                                 ANGIE
                    Yes.

                                              PATRICK
                    Something has to be wrong. He lied to me.
                    What we've been through we deserve to
                    know the truth.
           She looks at him.

                                              ANGIE
                    Why? Why is it important? Amanda's dead-
                    fuck the rest of them. Crooked, liars, I
                    don' t care.

                                             PATRICK
                    What do you want?

                                             ANGIE
                    I want this never to have happened.

                                                 PATRICK
                    Me, too.

                         
          She turns and goes into the bedroom.

                             ANGIE'S APT - DAY

          INT. PATRICK   &


                         
          Patrick slept out on the couch. Angie wakes him, whispering.

                                             ANGIE
                    Babe, Nick died.

                         

                                                           - DAY

          EXT. MOUNT AUBURN CEMETERY


                         
          Patrick & Angie are among the crowd of MOURNERS. There are a
          number of WHITE GLOVED POLICE OFFICERS-- indicating this is
          Poolers funeral.
          Everyone is heading UPHILL toward the grave site. An OLDER
          OFFICER approaches Patrick and Angie. He extends his hand to
          Patrick.

                                              OLDER OFFICER
                    Mr. Kenzie.

                                        (BEAT)
                    Nice fuckinr job on Corwin Earle.

                         

          EXT. MOUNT AUBURN CEMETERY, POND AREA - MOMENTS LATER

          Separated by a small POND, Patrick and Bressant exchange
          looks. Patrick is with Angie and Remy with his YOUNGER WIFE.
          As the roads meet, Patrick comes up behind Bressant.

                                             PATRICK
                    I was thinking about what we talked about
                    other night.

                                                             BRESSANT
                                 ( l o o k i n g away)
                          I s a i d some t h i n g s I s h o u l d n ' t h a v e . Too
                          much rum.

                         

                                                       PATRICK

                                                 (OFFHAND)
                          L i k e what?

                         

                                                          BRESSANT
                          We're n o t h a v i n g t h i s c o n v e r s a t i o n .
                          F o r g e t t h e o t h e r n i g h t and w e ' r e o k a y .

                         
          A careful beat.           P a t r i c k l o o k s him i n t h e e y e s .

                         

                                                    PATRICK
                          What i f I d o n ' t ?

                         

                                                             BRESSANT
                                   ( m a t t e r of f a c t )
                          T h a t ' s n o t a n " i f " you want t o b r i n g i n t o
                          your l i f e .

                         

          EXT. BURIAL SITE - CONTINUOUS


                         
                                                                           their grief still
          POOLE'S FAMILY h u d d l e s n e a r t h e c a s k e t - -
          h e a v y . B r e s s a n t i s among them.

                         
          The BOSTON POLICE BAG PIPERS p l a y t h e i r e l e g i a c r e q u i e m .

                         

          EXT. CEMETERY - LATER THAT DAY


                         
          The body h a s b e e n i n t e r r e d and t h e m o u r n e r s a r e h e a d i n g b a c k
          t o their cars.

                         
          They s e e Devin b r e a k i n g o f f from a n o t h e r g r o u p of c o p s .

                         

          EXT. CEMETERY - CONTINUOUS


                         
          P a t r i c k a p p r o a c h e s Devin.

                         

                                                      PATRICK
                          Can I t a l k t o you?

                         

                                                          DEVIN
                          Yeah.

                         

                                                          PATRICK
                          Not h e r e .

                         

                                                         DEVIN
                          Then y o u ' r e gonna have t o buy me l u n c h .

                                                          PATRICK
                        A l l r i g h t . How a b o u t Leos?

                         

                                                     DEVIN
                        No, come on now. I s t i l l work u n d e r c o v e r .
                        I c a n ' t be s e e n w i t h you where a s u b j e c t
                        m i g h t walk i n .

                         

                                                         PATRICK
                        How a b o u t t h e C h a r t House? I d o u b t any
                        d e a l e r s w i l l be r o l l i n ' i n t h e r e .

                         

                                                     DEVIN
                         Sounds r i g h t .

                         
          Patrick r o l l s h i s eyes.

                         

                                                          PATRICK
                         I ' l l b r i n g my w a l l e t .

                         

                                                         DEVIN
                         J u s t b r i n g your l a d y .

                         

                                                    PATRICK
                        Not a c o n v e r s a t i o n s h e ' s i n t e r e s t e d i n
                        having.

                         

          INT. CHART HOUSE RESTAURANT - DAY


                         
          P a t r i c k and Devin a r e a t a back t a b l e . T h e i r f o o d h a s m o s t l y
          b e e n e a t e n . Devin f i n i s h e s a s t e a k .

                         

                                                     DEVIN
                        No c o p a t e t h i s w e l l s i n c e t h e y h a d t o
                        disband vice.

                         

                                                    PATRICK
                        What'd t h e y do t h a t f o r ?

                         

                                                     DEVIN
                         I t was a t t h e p o i n t where some g u y s owned

                                   .

                                        YACHTS

                         
          Patrick smiles.

                         

                                                  PATRICK
                         You worked n a r c o t i c s w i t h Remy, r i g h t ?

                         

                                                     DEVIN
                         They c a l l i t DCU.         Yeah.

                                              PATRICK
                    Whyfd he leave?

                                             DEVIN
                    Did shit that rubbed people the wrong
                    way.

                                                PATRICK
                    Like what?

                         

                                             DEVIN
                    Married a prostitute, for one.

                         

                                             PATRICK
                    He married a hooker?

                                             DEVIN
                    You don't want to do that if you're a
                    cop.

                                             PATRICK
                    You might not want to do it if you're a
                    plumber.

                                             DEV IN
                    Said he loved her. Told Mike Snell to
                    fuck himself, put in for a transfer.

                                                PATRICK
                    To Doyle.

                                             DEVIN
                    They go back.

                                             PATRICK
                    Doyle and Remy?

                         

                                              DEVIN
                    Doyle.brought Remy with him from
                    Louisiana in '72. My man Doyle rolled
                    into Boston as a black cop and then
                    married a white woman in '74.

                                        (BEAT)
                    He's no joke.

                                              PATRICK
                    I got that impression.

                                        (BEAT)
                    You have any reason to think Remy might

                                   BE DIRTY
          Devin looks up at him, now unsure what this is about.

                                                             DEVIN
                           No.

                         

                                                      PATRICK
                            I know h e p l a n t e d e v i d e n c e once--

                         
          Devin l o o k s a t him, a n eyebrow r a i s e d .

                         

                                                            DEVIN
                           Oh, you do?

                         
          He l a u g h s a l i t t l e .

                         

                                            D E V I N (CONT ' D )

                                                   (SMILES)
                           Look. CSI i s k i l l i n g u s . Now a l l t h e s e
                           j u r i e s want t o know i s where t h e
                           microfibers a r e . C e r t a i n people a r e
                           w o r k e r s . They d o n ' t want t o p l a n t n o t h i n '
                           but.. .

                         

                                                      PATRICK
                           They don' t mind i t ?

                         

                                                            DEVIN

                                                 (SMILES)
                           I f n e e d b e ? Nah, t h e y d o n ' t mind i t .

                         

                                                        PATRICK
                           But o t h e r p e o p l e d i d ?

                         

                                                         DEVIN
                           Some p e o p l e d i d b u t Remy g o t s h i t d o n e ,
                           made a r r e s t s .

                         
          He s t u d i e s P a t r i c k .

                         

                                      D E V I N (CONT' D )
                           What d o you want t o f u c k w i t h him f o r ?

                         

                                                            PATRICK
                           He l i e d t o me. And from what I b e e n
                           t h r o u g h w i t h him- h e owes me t h e t r u t h .

                                                   (BEAT)
                           And I c a n ' t t h i n k o f one t h i n g b i g enough
                           t o l i e a b o u t t h a t ' s s m a l l enough n o t t o
                           matter.

                         
          He l o o k s a t him. Makes a d e c i s i o n .

                                                 DEVIN
                       I only know one thing. And it's from
                       another guy, so take it as that . . .

                         
          He sighs.

                                 DEVIN (CONT' D)
                       Helene and Ray took Cheese's money in
                       June. A week later, Remy came to a cop in
                       DCU, asking if anyone knew who robbed
                       Cheese. The story went around like:
                       that's how good Remy was.

                                                PATRICK
                       Why?

                                                DEVIN
                       'Cause our informant told us- Cheese
                       didn't even know the money was stolen
                       until two weeks later.

                                                PATRICK
                       How did Remy find out that quick?

                         
          Devin stands with his coffee, laughs a little.

                                                 DEVIN
                       If I knew that, I wouldn't be here
                       talkin' to you. And be sure on how far
                       you want to go with this--

                                           (BEAT)
                       You start investigating Police it's a
                       whole other level. You try to take food
                       out of their mouths they will fuck you

                                      UP -
          He smiles.

                                 DEVIN (CONT' D)
                       Thanks for the steak.
          He downs his coffee and goes.

                                                                                  CUT TO:

                         

          EXT. TAFT STREET - DAY

          Patrick gets out of his car. He walks down the street. On the
          way he passes and waves to several residents of several
          neighboring 3-Deckers.
          He holds his look as we travel with him.

                                 ANGIE'S APT - MOMENTS LATER

          INT. PATRICK      &


                         
          Patrick is talking to Angie.

                                              PATRICK
                    Trust me. I know I'm right. He lied to us
                    because he didn't want us to know he knew
                    Ray. That' s the whole thing.

                                             ANGIE
                    And how is it possible that he could know
                    the money was stolen before anyone else.

                                              PATRICK
                    The same way everyone in this
                    neighborhood knows everyone else's
                    business.

                                        (BEAT)
                    Someone tells them.
          She looks dubious.

                         

                                             ANGIE
                    This is reckless. It's one thing to get
                    obsessed yourself because that's what you
                    need to go through-- but this man lost,
                    basically, his child. If you do this, you
                    better fuckin' be right.

                         

                                              PATRICK
                    I understand that. I'm not asking you to
                    believe I'm right. I'm asking you to
                    believe in me.

                            BEA'S HOME, LIVING ROOM - CONTINUOUS, PRESENT

          INT. LIONEL   &


                         
          Lionel sits is his easy chair. It's still. We play the
          conversation over him sitting there.

                         

                                                    LIONEL
                    Hello.

                         

                              PATRICK (ON PHONE)
                    Where are you. I need to see you.

                         

                                             LIONEL
                    Can it wait?

                                     PATRICK (ON PHONE)
                    No.
          There is a pause. Something in Patrick's tone stops Lionel.

                                              LIONEL
                    Can you meet me at Murphy's Law? It's on
                    Summer.

                                             PATRICK
                    Fifteen minutes, Lionel.

                                             LIONEL
                    All right. I'm coming.

          EXT. DORCHESTER ST. - DUSK SETTING IN


                         
          Colin Hay' s "The Water Song" plays.
          The day has died. Muted yellow lights appear in windows. The
          coming dark promises a deepening chill. Children have
          disappeared from the street to wash up for dinner. Liquor
          stores and nail salons are half empty and listless. Horns
          honk sporadically and a storefront gate rattles as it drops.
          In the faces of people on the street you can see the weight
          of the morning's unfulfilled promise in the numb sag of their
          faces.

          EXT. MURPHY'S LAW - SUNSET

          From a high angle, we see the bar.

                         
          From the car we see Patrick and Angie wait in their car
          outside Murphy's Law. They see Lionel approach and head into
          the bar.

          INT. MURPHY'S LAW - DUSK SETTING IN


                         
          2 TEAMSTERS share a bottle of whiskey at the bar while 3
          SECRETARIES chat nearby. A BARTENDER works with a WAITRESS.
          Near the back door, TWO MEN throw darts.
          Patrick, Angie and Lionel sit around a table in the middle of
          the bar. Lionel stares at his hands.

                         

                                             PATRICK
                    How long you known Remy?

                                              LIONEL
                    Detective Bressant?

                                        (LIAR'S PAUSE)
                    Just, in, met him through the
                    investigation of Amanda.

                                                PATRICK
                    That's it?

                                               LIONEL
                    Yeah.

                                             PATRICK
                    How long you known Remy?

                                             LIONEL
                    What is this?

                                             PATRICK
                    They have the internet now, Lionel.

                         

                                             LIONEL
                        (pauses -- looking from one to

                                        THE OTHER)
                    You know how it is in town. Everybody
                    knows everybody.

                                              PATRICK
                    No, Lionel. Everybody don't know
                    everybody.

                                             LIONEL
                    What are you talkin' about?

                                             PATRICK
                    Why you lyin' Lionel?

                                              LIONEL
                    I'm not.

                                             PATRICK
                    Do you have something to hide? Why can't
                    you tell me?

                         
          Beat.

                                             PATRICK (CONT'D)
                    When you want to get away with a crime,
                    Lionel it ain't bullshitting your way
                    past ten questions. It's nobody asking
                    the first one.

          PATRICK ALTERNATIVE LINE:

                                             PATRICK (CONT'D)
                    You came to our house . . . .fuckin' explode.

                         
          Lionel puts up his hands.

                                               LIONEL
                    Fine. Fine.

                                        (BEAT)
                    I haven't been honest with you. It's
                    just not something I'm proud of, you
                    know? I was in a bar fight, in the day.
                    The other guy cracked his skull. At some
                    point, I musta said, "I' 11 kill you." So
                    they had me up for attempted. My word
                    against the other guy's. A witness
                    testified to my version and the jury
                    believed him.

                                             PATRICK
                    'Cause he was a cop.

                                              LIONEL
                    Yeah.   He testified for me.
          Angie starts to believe Lionel might be lying.

                                             ANGIE
                    Why didn't you mention that?

                                             LIONEL
                    I was embarrassed.

                                             PATRICK
                    Bullshit. You bragged about taking a hard
                    bust the first day we met you.

                                              LIONEL
                    No I didn't.

                                             PATRICK
                    So you knew 'Detective Bressant.'

                                             LIONEL
                    It's not like we were best friends.

                                             ANGIE

                                       (BUILDING SUSPICION)
                    But you lied.

                                             PATRICK
                    Why did you call Remy?

                                             LIONEL
                    He's a cop.. .

                                              PATRICK
                    And?

                                                  LIONEL

                                        (GETTING FLUSTERED)
                    The c a s e i s c l o s e d , P a t r i c k . I t ' s c l o s e d .

                         

                                                 PATRICK
                    You h e a r d Helene a n d Ray t a l k i n g a b o u t
                    t h e money.

                         

                                                      LIONEL

                                   .
                    Come o n . .

                         

                                                  PATRICK
                    I t r s a s m a l l p l a c e , t h e y were l o u d , you
                    h e a r d them a r g u i n g .

                         

                                              LIONEL
                    Who? Who a r g u i n r ?

                         

                                                  PATRICK
                    You a n d him t o o k Amanda, t o b l a c k m a i l
                    your s i s t e r .

                         

                                             LIONEL
                    Why would I do t h a t ?

                         

                                                 PATRICK
                    F o r t h e money L i o n e l , t h e f u c k i n '    money.

                         

          PATRICK ALTERNATIVE LINE:

                         

                                                   PATRICK (CONTRD )
                    A f t e r t h e p l u g i n t h e j u g . . . .t h e n You
                    were f u c k e d .

                         

                                                 ANGIE
                    You h a t e y o u r s i s t e r .

                         

                                                      LIONEL

                            ...

                                   ANGIE

                         

                                             PATRICK
                    And you were fucked--

                         

                                                LIONEL
                        (looking f o r waitress)
                    Where's t h e - - why c a n ' t we g e t any--

                         

                                                      ANGIE
                    L i o n e l , t e l l me what h a p p e n e d .

                         

                                              LIONEL
                    Hold o n a s e c o n d . . .

                                                           PATRICK
                          Coke d e a l i n ' H a i t i a n would be a n e a s y
                          t a r g e t f o r a frame--

                         

                                                         LIONEL
                          E x c u s e me, m i s s ?

                         

                                                        PATRICK
                          You t o o k y o u r n i e c e and l a i d i t o f f on a
                          b l a c k guy.

                         
          Lionel i s going t o break.

                         

                                                    LIONEL

                                             (SEEING HER)
                          Excuse me!

                         
          A WAITRESS g e t s t h e r e .

                         

                                      LIONEL (CONT ' D )
                          Can I g e t some s e r v i c e ?

                         
          She s t a r e s a t him.

                         

                                                     WAITRESS
                          What c a n I g e t you?

                         
          Lionel t a k e s a long beat,            then asks for:

                         

                                                       LIONEL
                          Three s h o t s of Maker's,            please.

                         
          These w i l l b e L i o n e l ' s f i r s t d r i n k s i n t w e n t y t h r e e y e a r s .

                         

                                                     LIONEL (CONT'D)
                          And a Bud. T a l l .

                                              (BEAT)
                          Thank you.

                         
          The w a i t r e s s g o e s t o g e t t h e d r i n k s . L i o n e l s i m p l y l o o k s a t
          them, t h i n k i n g o v e r h i s s e c r e t s , wondering a b o u t t h e l i f e
          h e ' s a b o u t t o l e t go o f .

                         

                                          LIONEL (CONT' D )
                          J u s t g i v e me a s e c o n d .

                         
          The w a i t r e s s r e t u r n s w i t h t h e d r i n k s and l i n e s them up i n
          f r o n t of L i o n e l . He r e g a r d s t h e d r i n k s b e f o r e him f o r a l o n g

                  .
          beat. .

                         

                                                      LIONEL (CONT'D)
                          Twenty t h r e e y e a r s i s s o m e t h i n g , r i g h t ?
           Lionel downs one. He feels the liquor flame through his
          bloodstream.

                                                PATRICK
                    Go.

                                             LIONEL
                    In May I came up to check on Amanda. She
                    was alone, as usual. I was reading her a
                    story when Helene and Ray came home. They
                    didn't know I was there and they started
                    talking about how they had robbed this
                    drug dealer. Then they talked about
                    leaving the state. I called Remy and told
                    him.

                                                PATRICK
                    Then what?
          Lionel pours another shot down his throat, gathers himself.

                                                LIONEL
                    Then we took her.

                                          (BEAT)
                    Remy laid out this plan, it seemed easy.
                    We take her, force Helene and Ray to
                    cough up the money, and then put her
                    back. You know? Amanda gets a weekend in
                    the country; My sister learns a lesson;
                    And fuck it, we'll all get paid on top of
                    it . . . I got no problem taking money from
                    a guy like Cheese.

                                          (PAUSE)
                    They were gonna handle the cops, but Bea
                    went nuts calling the papers and hired
                    you. Once you found the money they had
                    Amanda and the money. So they decided to
                    set up a fake exchange for you to
                    witness. They got Chris Mullen to set
                    Cheese up at the quarry for 15k and a
                    chance to be the boss. Even though it was
                    too late, Cheese figured out what was
                    happening and started shooting. You have
                    to understand, I never been around that.
                    Everyone was panickin' and she . . .

                                          (A BEAT)
                    . . . she got scared and she ran.

                                          (ANOTHER BEAT)
                    And she just fell in.

                         

          OVER THE PREVIOUS DIALOGUE WE PLAY FLASHES:

                                                     ANGIE
                          She was your sister's kid, Lionel.

                                              (BEAT)
                          Your sister's c h i l d .

                                                     LIONEL
                          You don't think I miss her? She was more
                          my kid than Helene's.

                                              (BEAT)
                          Last summer, Helene and Dottie took
                          Amanda to the beach. Real hot day. Amanda
                          fell asleep and they left her in the car
                          to go off with some guys in the dunes.
                          For two hours. Amanda literally roasted.
                          She was t h r e e .

                         
                He listens skeptically.

                                     LIONEL (CONT' D)
                          My sister called me up later that night
                          because Amanda was, " b e i n q a r e a l b i t c h . "

                                              (PAUSE)
                          When I got over there I found my niece in
                          the bathtub, schriekin' in pain and she
                          reeked, like beer. The best my sister
                          could come up with to ease her daughter's
                          pain was to douse her in cold beer. But
                          not all of it, she wanted to "save some."

                         
                Long exhale.

                                                    LIONEL (CONT'D)
                          Later on, I was holding her, trying to
                          help her sleep, and she was so hot she
                          felt like something just outta the
                          oven... Like a fuckinr pot r o a s t .

                                              (BEAT)
                          So don't feel too sorry for my sister.
                          She never cared about anyone but herself.

                         
          108   A COMMOTION draws their attention to the front door. A MAN 108
                WEARING A POPEYE MASK stands just inside the door brandishing
                a shotgun.

                                                    POPEYE

                                              (TO BARTENDER)

                          YOU! THE SAFE . . . NOW!
                               (pointing with his gun)
                          Right under there.

                         
                The bartender does as he's told -- sliding open a door
                beneath the bar to reveal a safe.

                                               POPEYE (CONT'D)
                    Everyone needs to shut up. I'll be done
                    in two minutes.
                         (to the dart players)
                    You get down on the floor. Hands behind
                    your head! Just relax.

                         
          A woman starts to panic.

                              WOMAN AT BAR
                    Oh, god, no.

                                             POPEYE
                    This will all be over in a minute if
                    everyone stays calm.

                                             TEAMSTER
                    Do you know who's bar this is, shit-head?

                         
          Popeye CRACKS the teamster in the jaw with the butt of his
          shotgun.

                                             POPEYE
                    Or you can get wise. It's up to you.
          The bartender places a STACK OF BILLS on the bar -- 2 or 3
          grand. Popeye throws a DUFFLE BAG at him and he fills it.

                                             DART PLAYER
                    We got families.

                                                POPEYE
                    Pipe down.

                         
          He turns to Lionel.

                                             POPEYE (CONT'D)
                    What did you say?!

                         
          Nobody said anything.

                              POPEYE (CONT' D)
                    Another smart guy?

                         
          The bar is silent.

                                              POPEYE (CONT'D)

                                        (TO LIONEL)
                    You1re a talker, huh? Keep yapping
                    motherfucker.

                               WOMAN AT BAR
                    Stop antagonizing him! He has a gun.

                                              POPEYE

                                        (TO LIONEL)
                    You want to keep talking trash? Okay.

                                              DART PLAYER

                    SHUT UP!
          Even though Lionel has said nothing, every witness at the bar
          would remember it this way. That Lionel had been talking and
          he had been killed.
          Popeye SNAPS THE ROUND INTO THE CHAMBER WITH ONE HAND.

                         

          HE CRANES HIS NECK

                         
          On Patrick, this rings a bell. From the Tretts. . .
          Popeye is Bressant. Bressant levels the shotgun at Lionel.

                                              POPEYE

                                        (TO LIONEL)
                    Close your eyes, Mouth. Close 'em tight.

                                             LIONEL
                    You don't have to do this

                                             PATRICK

                    REMY BRESSANT.

                         
          Bressant looks at him, then sticks the shotgun between
          Lionel' s eyes.

                                              LIONEL
                         (his eyes shut)
                    Wait. Jesus.

                                              PATRICK
                    Amanda McCready was taken by Remy
                    Bressant !

                                             BRESSANT
                    Don't say that fucking name!

                                                 LIONEL
                    I already told him we did it for ransom.
                    I told him we did it for ransom!
                    Remy . . . Please.
                                                                       Ill.

                         

                         

                         

                         

                                               BRESSANT
                    Fuck. . .
          His heart isn't in it. He begins to lower his gun

          BANG! BANG!
          TWO SHOTS HIT Bressant. He takes a beat to register this,
          standing stock-still.
          The Bartender is standing there with a smoking gun, in shock.
          Patrick leaps out of his chair and drives his head into
          Bressant's stomach. Wrapping his arms around his waist, he
          plows his spine straight back into the bar.

                         
          Bressant cracks the shotgun stock down onto the back of
          Patrick's neck, buckling his knees and crashing him to the
          floor. He SCRAMBLES OUT the front door.
          Patrick gets to his feet and looks around. Angie is okay.
          Patrick turns and RACES out the front door after Bressant.
          Angie goes to Lionel's side.

                                             SECRETARY
                    Call 911! Call 911!

                         

          EXT STREET - CONTINUOUS
          Patrick looks up and down the street, but Bressant is nowhere
          to be seen. He sees a BLOODY POPEYE MASK on the ground. A
          TRAIL OF BLOOD runs away from it which Patrick follows across
          the street.
          The thickening trail leads Patrick along the side of a LARGE
          3-STORY FACTORY (in the process of being converted to lofts)
          and to a DOOR near the back. Blood is smeared on the door and
          a small red puddle has formed on the ground.

          INT FACTORY STAIRWELL - CONTINUOUS
          Leading with his gun, Patrick steps into a bright STAIRWELL.
          Blood tracks up the stairs and Patrick ascends cautiously.
          He climbs one flight.
          And then another -- pausing on the landing. Above him, light
          comes through an OPEN DOOR. He starts for it.
          Patrick continues up the last few steps. He reaches the top
          and peers out onto:

           EXT ROOFTOP - CONTINUOUS
          Patrick scans the roof for Remy. He sees nothing on his right
          and turns around to his left, circling the stairwell. Behind
          him we see a magnificent view of the neighborhood. He turns
          another corner to see:

                         
          Bressant sits against an aluminum vent - - his head leaned
          back and his eyes half closed. A ROSE OF BLOOD spreads out
          against Bressant's shirt. His flesh is beginning to grey.

                         
          Patrick holds his gun on him and calls out.

                                             PATRICK
                    Put the fuckin' gun down!            Put it down.

                         
          Remy has his gun on his lap. He lets it fall to his side.

                                             BRESSANT
                    That bartender wasn't fuckin' around.

                         
          Patrick kicks away the gun.

                                             PATRICK
                    Fuck you. You let this little girl die.
                    You want to tell me how to live?

                         
          Patrick looks at Remy.

                              PATRICK (CONT' D)
                    'Do your best.' Fuck you, this is my
                    best.

                         
          Bressant wags his head a little

                                              BRESSANT
                    I know.

                                             PATRICK
                    You know? You let a girl go off a cliff.
                    What do you know? You don't know.

                         
          Bressant just smiles at him.

                                           ( CONT ' D)

                                             PATRICK
                    She was a child--

                         
          Remy gives him a long, strange look. Then:

                                              BRESSANT
                    Yeah.

                                        (BEAT)

                                               ( MORE )

                                               BRESSANT (CONT'D)
                    I could never have kids. I told my wife
                    to marry someone else. She wouldn't do
                    it.
                         (beat, distant)
                    I love children.

                         
          Bressant is fading. Patrick stands over him. Oddly peaceful,
          Bressant gives Patrick a kind smile.

                              BRESSANT ( CONT' D)
                    I like you, Patrick. You get to Florida,
                    look me up.

                         
          Patrick looks at him.

                                             BRESSANT (CONT'D)
                    Let me see the city.

                         
          Patrick stands there. Bressant looks out at Boston, rising
          steel and glass in the setting August sun. Autumn is almost
          at hand and the crispness of the air makes the view all the
          more sad.
          Bressant makes a guttural sound, appreciating the last thing
          he'll see.
          Patrick looks at him, dying. Not how he expected this to end.

                         
          CRANE starts on Remy, up to Patrick, then pulls far above
          both them and the city.

          DISSOLVE OVER THE ROOFTOP IN THE SETTING SUN (CRANE)

          INT. POLICE INTERROGATION ROOM - NIGHT


                         
          Patrick sits in a chair. Present are the NEW CAPTAIN (57) and
          a BEEFY OFFICER (50) with a crew cut.
          They sit around a desk, informally. Patrick is not charged
          with anything but rather is being questioned routinely
          (hence, no lawyer) .

                                              PATRICK
                    Why would I expose a conspiracy I was a
                    part of?

                                        (BEAT)
                    Did Lionel contradict anything I said?
                    Did the witnesses?

                         
          The Captain stands.

                                    CAPTAIN
          A Police officer was killed today. That's
          not looked on lightly.

                                   PATRICK
          Is corruption looked on lightly?

                                   BEEFY OFFICER
          You got a smart mouth.

                                    PATRICK
          How is getting a little girl killed
          looked on?

                         

                                   CAPTAIN
          We'd like to ensure that you're telling
          us the truth. Is that all right with you?
          Hot shit?

                                   PATRICK
          It's fine, hot shit.

                                   CAPTAIN
          So, after setting up Jean Baptiste, your
          friend Chris Mullen was coincidentally
          killed? And you didn't have nothing to
          do with it?

                                    PATRICK
          He was probably killed by Sgt. Detective
          Remy Bressant or anyone else who wanted
          the 130K in his backpack.

                              (BEAT)
          He's not my friend.

                                   BEEFY OFFICER
          You charge money as a detective. But you
          were at the quarry and yet you had no
          idea it was a set up?

                                    PATRICK
          I trust the Police when they tell me
          something. And I had a fake ransom note
          and Amanda's blanket the cops left in my
          mailbox. And I heard the tape from when
          Cheese, or I guess it was Chris
          pretending to be Cheese, called the
          station.

                                              CAPTAIN
                    A 911 call?

                                             PATRICK
                    No. The call into the station from Cheese
                    to Remy.

                                              CAPTAIN
                    We don't tape calls into the station.

                                        (BEAT)
                    And we don't do transcripts, smart guy.

                         
          Beat. This causes Patrick to register something.

                                             BEEFY OFFICER
                    Did you hear a tape?

                                             PATRICK
                    No.

                                             BEEFY OFFICER
                    Did you see a transcript?

                                             PATRICK
                    I must have remembered it wrong. Remy
                    read it to me.

                         
          The Police look at him.

                              PATRICK (CONT' D)
                    Look, I've cooperated. Unless you want me
                    to go out there and start calling the
                    papers to give 'em my Police corruption
                    exclusive, I'm leaving.

                         
          He gets up.

                                              CAPTAIN
                    Calm down.

                                        (BEAT)
                    You're released. But Mr. Kenize--

                                        (WINKS)
                    I hope you don't get pulled over any time
                    soon.

          INT. PATRICK AND ANGIE'S APARTMENT - NIGHT

          Patrick comes into the office/living room. Angie is there.

                                             ANGIE
                    What happened?

                                              PATRICK
                    They kept my shoelaces.

                         
          She smiles.

                                             ANGIE
                    We'll go down to Zayre's tomorrow and get
                    you some new ones.

                         

                                             PATRICK
                    I don't want to do that tomorrow.

                         

                                             ANGIE
                    What do you want to do?

                         

                                             PATRICK
                    Take a trip.

                         

          EXT MASS TURNPIKE - DAY
          The car speeds along the empty highway, carving through thick
          forests of pine trees.
          Inside the car it's quiet. Patrick's stare is fixed to the
          road -- the rhythm of the white lines that pulse by. Angie
          rests her head against the passenger window, the BLUR of the
          tree-line reflected in her eyes.

          EXT . RURAL HIGHWAY - DAY
          A 2-LANE ROAD winds them through rolling hills and past a
          SIGN welcoming them to: 'WEST BECKETT, MA. Pop. 974' -- a
          Rockwell painting in the heart of the Berkshire Mountains.

          EXT TOWNSEND ROAD - MOMENTS LATER
          The car rolls down a quiet road where small COTTAGES nestle
          in clumps of birch and pine trees. Patrick parks opposite a
          long driveway. A MAILBOX at its mouth reads: DOYLE

                         

                          ROAD - AFTERNOON

          EXT. TOWNSEND

          Patrick and Angie sit in the car.   They look down a driveway.

                         
          She takes a beat.

                                             ANGIE
                    You want to tell me where our trip has
                    taken us?

                                             PATRICK
                    You know where we are.

                                               ANGIE

                                        (BEAT)
                    He would never, ever do something to
                    endanger a child.

                                             PATRICK
                    Are you sure?

                                             ANGIE
                    Yes.

                                             PATRICK
                    He was a part of it. They don't tape
                    calls. He handed us a transcript like it
                    was evidence and he knew it was a forgery-
                    -maybe he forged it himself. He knew
                    what they were doing, he supported it and
                    he covered it up.

                                            ANGIE
                    Why? For a third of a hundred and thirty
                    grand? What for?

                         
          He just looks at her.

                                             PATRICK
                    Had to be for something.

                                                 ANGIE
                    When you're talking about ruining an old
                    man who lost his child and gave years of
                    service . . . "something" isn't enough.

                                              PATRICK
                    For a guy who tried to ruin us,
                    something' s plenty.

                                              ANGIE
                    This is the kind of thing where if you do
                    it, you want to be sure.

                                        (BEAT)
                    Are you sure?

                                             PATRICK
                    No.

                                        (BEAT)
                    Are you coming?

                                             ANGIE
                    No.

                         
          And he goes down the road.

           EXT DRIVEWAY - MOMENTS LATER

                         
          They start down the driveway towards a small, red cottage set
          a hundred yards or so off the road. But after only a few
          steps, they stop.
          PATRICK & ANGIE'S POV: Through the trees, Doyle emerges from
          the cottage. He carries 2 FULL SUITCASES to a SUBURBAN and
          loads them in the back. His wife, FRANCINE, follows.
          Patrick & Angie take a beat before resuming down the drive.
          Only to FREEZE IN THEIR TRACKS at the sight of:

                         
          AMANDA MCCREADY CHARGING ONTO THE PORCH, clutching a BACK-
          PACK, and wearing a look of utter determination.

                                             AMANDA
                    Don't forget mine, gramma.

                         

                                             FRANCINE
                    I'd never forget yours, sweetheart.
          Doyle lifts Amanda off the porch and carries her to the
          Suburban. He dips down, allowing Amanda to place her back-
          pack inside.

                                             AMANDA
                    Can I have a, please a sandwich?

                                             DOYLE
                    What kind do you want.

                                             AMANDA
                    Grill Cheese.

                                             DOYLE
                    You like the crusts on, right?

                                              AMANDA
                         (thrilled with this game)
                    Noooo! I don't like the crusts on!

                                              DOYLE

                                        (FAKES REMEMBERING)
                    That' s right, that's right.
          Patrick and Angie have ducked into the woods. They are both
          in shock.

                                             PATRICK
                    Jesus.

                                                           ANGIE
                                 She's alive.

                       SERIES OF FLASHBACKS SHOWING WHAT ACTUALLY HAPPENED IN

                       EXTREMELY QUICK SUCCESSION.

                                  -

               -       EXT. TOWNSEND ROAD - AFTERNOON


                         -1

                         

                         

                         

                         
                       Patrick walks down Doyle's driveway toward the car. Angie is
                       sitting, leaned up against the hood, he head tilted forward.
                       As Patrick draws near, she lifts her head up to him and we
                       see she has been crying.
                       This isn't what Patrick expected and he is taken aback for a
                       beat, long enough for Angie to say:

                                                          ANGIE
                                 She's happy.

                                                          PATRICK
                                 No.. .

                                                           ANGIE
                                 She' s happy here.

                                                     (BEAT)
                                 I saw her.

                                                           PATRICK
                                 Angie, don't do this.

                                                          ANGIE
                                 If you call the Police they'll send her
                                 back.

                                                          PATRICK
                                 I need you on my side.

                                                          ANGIE
                                 I am on your side but I can't send her
                                 back.

                                                          PATRICK
                                 We're not sending her anywhere. That's
                                 her mother. She has a right to her
                                 child.

                                                          ANGIE
                                 He's better for her.

                                                          PATRICK
                                 Why? Because he has money and makes
                                 sandwiches?

                                              ANGIE

                                        SIMPLY)
                    Because he loves her.

                                             PATRICK
                    Helene loves her, too.

                                              ANGIE
                    No.

                                             PATRICK
                    She might learn from this.

                                              ANGIE
                    No.   People don't change.

                         
          Angle grows more impassioned.

                                             ANGIE (CONT'D)
                    Helene is arsenic. She'll kill her.
                    She'll burn the life out of her.

                                             PATRICK
                    You can't take away someone's kid.

                                             ANGIE
                    I don't want to.   I want to leave their
                    child with them.

                                             PATRICK
                    ~ l this time we wanted to bring her

                                       L
                    home. Why is that wrong now?

                                             ANGIE
                    Because I know right and wrong when I see
                    it.

                                             PATRICK
                    I need you to understand me right now. I
                    need you to love me and say I know this
                    is a hard decision but I stand by you. I
                    need you to take me home and make this
                    okay.

                                              ANGIE
                    I can do that. I can take you home and I
                    know how to make it okay.

                                        (BEAT)

                                               (MORE)

                                               ANGIE (CONT'D)
                    It will be okay because every now and
                    again we'll talk about her and where she
                    might be and what grade she's in and
                    we'll be proud of her and that will be
                    okay.

                                        (BEAT)
                    Because we'll know she's in a good school
                    and safe and has sleep overs and birthday
                    parties and smiles every day.

                                        (BEAT)
                    And maybe sometime we'll drive out here
                    and watch a softball game with a teenager
                    in it from the back bleachers and we'll
                    see how much she's grown. And then I'll
                    take you home and we' 11 know it's okay.

                                             PATRICK
                    You can't ask me to do something I can't
                    do.

                                             ANGIE
                    You can't ask me to live with it,

                         
          She makes a plea.

                                              ANGIE (CONT'D)
                    Patrick, for me. Please?

                                        (BEAT)
                    I'll hate you for doing it.   I don't want
                    to but I will.

                         
          She walks away, leaving him alone by the side of the road.

          EXT. DOYLE SUMMER COTTAGE, DRIVEWAY - MOMENTS LATER

          We push in, approaching Doyle who turns to see Patrick.
          Doyle watches Patrick. He offers a measured greeting.

                                             DOYLE
                    Patrick Kenzie. To what do I owe the
                    pleasure?

                         
          He holds Doyle's look.

                                             PATRICK
                    Remy Bressant died last night.

                                             DOYLE
                    I was told. It's a shame.

                                               PATRICK
                     Hard to understand.    He seemed like a
                     good man.

                                              DOYLE
                     He was a good man. You don't know why
                     people do what they do. Only they see
                     out their own windows.
          With that, AMANDA walks out the door, running to Jack and
          clinging to his leg. Jack holds Patrick's look.

                                                AMANDA
                     Papapa.    Come make sandwiches now please.

                         
          Doyle smiles, giving away nothing of his tension with
          Patrick.
          Francine comes to the door.

                                               DOYLE

                                         (TO FRANCINE)
                     It's all right.

                                         (TO AMANDA)
                     Go inside, my sweet. I'll be there soon
                     and make you a sandwich.
          Francine hesitates.    Doyle is gentle.

                                              DOYLE (CONT'D)
                     I'm all right.
          Francine takes her back inside.

                         
          A beat.   Doyle smiles.

                                              DOYLE (CONT'D)
                     So you know. Good for you. You
                     uncovered the thing men died for.

                                              PATRICK
                     Men killed for.

                                              DOYLE
                     I'm giving that little girl a life.

                                              PATRICK
                     It's not your life to give. Helene is
                     her mother. You think she's a bad mother
                     you should have gone to social services.
                     Short of that, it's her mother, it's
                     where she belongs.

                                    DOYLE
          Turn around, get back in your car and
          wait thirty years. You don't know what
          the world is made of yet.

                                   PATRICK
          I know I'm tired of being lied to   and
          tired of being lectured by a gang   of
          criminals. I'm calling the State    Police
          in five minutes. They'll be here    in ten.

                         

                                   DOYLE
          No.

                              (BEAT)
          You haven't made that call because you
          think it might be an irreparable mistake.
          Because part of you believes it doesn't
          matter what the rules say. Because you
          know, when the lights go out and it's
          just you and your conscience you ask
          yourself if she's better here or better
          there, you know the answer and you always
          will.

                                   PATRICK
          See you at the arraignment.

                                    DOYLE
          You can do one good pure thing here
          today. One right thing. Most men don't
          get that chance in a lifetime.

                              (BEAT)
          You walk away from that, you may not
          regret it when you get home, or in a year
          but I promise you, get to where I am, you
          will. But I'll be dead by then, you'll
          be old, and she'll be trailing a ragged,
          tattered childhood of her own -- and
          you'll be the one who has to tell them
          you' re sorry.

                                   PATRICK
          Then I guess I will. I'll tell them I'm
          sorry and I'll live with it. And maybe
          that will happen, what I'm not gonna do,
          is have to apologize to a grown woman who
          says, why did you leave me? I got
          kidnapped, my aunt hired you to find me,
          and you did. You found me with a strange
          family but you broke your promise and you
          left me there. Why? Why didn't you
          bring me home?

                                    (MORE)

                               PATRICK (CONT' D)
                    It don't matter how many outfits and
                    snacks and family trips we took-- they
                    weren't my family, they stole me and I
                    was raised as a stranger to myself and
                    the life I would have had. You knew
                    about it, you knew better and you did
                    nothing. And maybe that grown woman will
                    forgive me but I won't forgive myself.

                         
                                 Silence . . .
          It hangs in the air.

                                             PATRICK (CONT'D)
                    The only thing I care about is that
                    little girl. And I'm gonna bring her
                    home.
          Doyle hears this. Has his reaction, something like a
          sagging, an emptiness, and a resolution.

                                              DOYLE

                                                                    I STILL
                    Then you'll have to excuse me.
                    have a sandwich left to make.

                         
          He turns and walks inside.

          SAME - LATER
          Patrick watches from down the road. Doyle is on the porch.
          Jack sits in his favorite chair. Amanda is on his    lap,
          facing him, arms around his shoulders, head tucked   into his
          neck. He slowly rocks the chair. He holds Amanda     like its
          the last hug of his life. His eyes are fixed on a    point
          somewhere far off in the distance.

                         
          Patrick takes out his phone.

                         
          In the distance sirens wail faintly, getting louder.
          Just inside the door is Amanda's colorful kids back-pack, a
          strange and cute stuffed snake, and Francine's bag spilling
          over with zip-locked snacks and children's cups-- all the
          stuff Francine had packed to make sure Amanda would have,
          whereever she'd go.
          Over this all, beginning faintly and growing increasingly
          audible, is the inanity of the television news. It's blather
          like a merciless blanket of idiocy over something hopelessly
          sad.
          A swarm of West Beckett POLICE CRUISERS cram the small road.
           A Deputy knocks on the door. Doyle answers. He knows the
          local cops' who are embarrassed to arrest him. He makes it
          easy for them.
          Doyle nods at the deputy with quiet acceptance and the
          dignity of a man at peace with the choices h e r s made.
          The DEPUTY puts a hand-cuffed Doyle into the back of his car.

                         
          Francine Doyle silently mouthing! "oh my God' oh my God."
          Angie looks out from the car' past the policef past
          everything.
          They move to Francine to put her in a police car.
          Amandal being taken from Francine' cries and reaches out to
          her. She screams.
          Francine is handcuffed.
          Patrick tries to hold his look.
          Patrick stands with a GROUP OF SHERIFF'S DEPUTIES.
          He looks to Angie . . .
          She doesn' t look back.

                                                                             DISSOLVE TO:

                         

          EXT HELENE'S APARTMENT - EVENING
          The crush of media has descended outside the apartment for
          footage of the joyous reunion. Helene is made up. She waits
          on the curb as the POLICE CAR arrives.
          Out gets a FEMALE OFFICERr holding Amandar who is terrified
          by the rapacious mob of REPORTERS AND PHOTOGWPHERS.
          Amanda's  fear of the throng causes her to cling to Helenel
          giving the photographers the shot they want.
          Patrick watches from his car' parked up the block. He is
          alone.

          ADDITIONAL STREET MONTAGE IMAGES FEATURING PATRICK
          He is in the neighborhood.

           EXT. CITY STRETT - SUNSET


                         
          Patrick drives. He sees the ITALIAN MAN (Gerry Speca) and
          they trade looksl once again' 40 fps as he drives by.

                                 ANGIE'S APT - EVENING

                         INT PATRICK    &

                         
          Patrick comes home. Boxes are packed. The place feels less
          warm. More bare.
          A voice from the doorway turns him around. It's Angie.

                                             ANGIE
                    Sorryr I had to come back and get some
                    stuff.

                                                            PATRICK
                    It's okay.
          She looks at himl almost sympathetic.

                         

                              PATRICK ( CONT ' D)
                    Can we at least talk?

                                             ANGIE
                    There's nothing to say

                         
          She smiles' maybe some water pooling at the corners of her
          eyes.

                         
          After a beat' looking at herl he steps aside. She moves past
          him and out the door.
                                     ANGIE'S APTr KITCHEN - LATER

          INT. PATRICK       &


                         
          Patrick sits at the kitchen table.

                         
          On the TVl Helene is talking to the press. Pull back to
          reveal Patrick watching her at his kitchen table.

                         

                              HELENE (ON TV)
                    I just want to say God bless. God bless.
                    To all the police and . . .the firemen . . . I
                    just feel like nine-eleven right now...

                         

          EXT. CEMETERY               DUSK


                                                -

                         
          Watching from afar as Bressant is buried. In contrast to
          Mount Auburn' this is a pitiful little place. His WIFE (the
          former prostitute) and a few scant mourners stand by. A
          PRIEST delivers the eulogy. It begins to rain.

           END MUSIC CUE:

                         DISSOLVE :

          INT HELENE'S APARTMENT        EVENING

                                                   -

                         
          In the LIVING ROOM' Amanda is plunked on the couch staring
          blankly at a SITCOMf sharing none of the studio audience's
          enthusiasm.
          Patrick stands just inside the front door watching her.

                                 HELENE (0. . )

                                                          S
                       I'm sorry for being rude' but I gotta be
                       outta here in like two minutes.

                         
          Patrick doesn't answer' his gaze fixed on Amanda. She finally
          looks up at him. Patrick SMILES at her.

                                                 PATRICK
                       Hi.

                         
          Amanda looks at him' blankly.
          She returns her attention to the TV.

                                 HELENE (0.. )

                                                          S
                       You think hef11 like me?
          Patrick looks over to Helene standing in the doorwayf all
          dolled up -- striking a pose. She wears too much makeup. Her
          clothes reveal too much of what she hasn't got.

                                                 PATRICK
                       Who?

                                                 HELENE
                       My date.

                                                PATRICK
                       I'm sure he will.

                                                 HELENE
                       Aww' you' re sweet. He seen me on my
                       American Victim and he wrote me letters
                       and I was like whatever' but then he saw
                       my Katie Couric and drove down here from
                       Providence so I was likef that's
                       romantic' right?
          Patrick forces a smile.

                                              HELENE (CONT'D)
                    Howrs your girlfriend?

                                              PATRICK

                                        (HESITATES)
                    She's all right. She's up the north shore
                    with her sister.

                                                HELENE

                                       ( FLIRTY)
                    If she donrt get smart' I'll take you
                    out.
                         (shakes her head)
                    Hope she got better family than I do'
                    right?

                         
          Patrick forces a nod. She fastens an earring to her lobe.

                                                PATRICK
                    Howfs Bea?

                                              HELENE
                    I wouldn't let her in the apartment.

                                        (JUSTIFYING)
                    Whatr I want to lose her again? Forget
                    it.

                                        (BEAT)
                    She sold her unit. Moved out to fancy
                    pants in Melrose. Good riddance.

                                                PATRICK
                    Yeah.

                                              HELENE
                    Don' t think she didnft hate you for
                    Lionel goinr to jail.

                                             PATRICK
                    Probably why she never paid my bill.

                                             HELENE
                    You should fuckin' sue.

                         
          Something registers on Amanda's face when Helene says "fuck.''

                                             PATRICK
                    How about youf Helene? You hate me?

                                             HELENE
                    Euck no. Brother or not he took my kid.
                    Euck him. She could' a been hurt.

                                              PATRICK
                    What about Amanda?

                                             HELENE
                    What about Amanda?

                                             PATRICK
                    Who's watching her?

                                                HELENE
                    Dottie.

                                             PATRICK
                    Dottie know that?

                         

                                              HELENE
                    She will in five minutes.

                                        (GIGGLES)
                    Shit, I'm gonna be late, too.

                         
          Patrick waits.

                                             HELENE (CONT'D)
                    Unless you don't mind sittin' for her?

                                                PATRICK
                    Sure.

                                                HELENE
                    For real?

                                                PATRICK
                    It's fine.

                                             HELENE
                    She likes you.

                         
          Patrick looks to Amanda. She just sits there. Watches TV.

                                              HELENE (CONT'D)

                                        (LEAVING)
                    You' re a godsend, Patrick.

                         
          She goes. And then calls out from the stairwell.

                                 HELENE (O.S.) (CONT'D)

                    BYE!! !
          Patrick sits next to Amanda on the couch . . . And together --
          silently -- they watch TV.
           Patrick sees that Amanda is holding her famous doll, the one
          the papers said she loved so much, the one Angie plucked from
          the quarry..

                                              PATRICK

                                        (RE: DOLL)
                     Is that Mirabelle?
          Amanda looks up at him.

                                               AMANDA

                                         (CORRECTING)
                     Annabelle.
          He nods. It makes sense. They turn back to the television.

                                PATRICK (V.0. )
                     I started going to Church again. I saw
                     them bury Remy and, for the first time in
                     years, maybe ever, I prayed for someone.
                     I did everything I wanted to do. I proved
                     my father wrong. I either learned my
                     lesson or became a man, I can't tell the
                     difference . Either way, all it' s left me
                     is the hollow, copper aftertaste in my
                     throat, like a vague and distant regret.
                     Remy was right, I know very little--but
                     what I do know, I am sure of: I was wrong
                     about that commercial. "Shouldn' t your
                     dog be treated like a member of the
                     family?" It doesn't depend on the dog. It
                     depends on the family.
          We hold on them for an extended beat. The blather from the
          television washes over them, the man and the little girl.

                         

          FADE TO BLACK
          The End.

                           


Gone Baby Gone



Writers :   Ben Affleck  Aaron Stockard
Genres :   Crime  Drama  Mystery


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